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OPENING  CONSIDERATIONS. 


WE  enter  our  existence  upon  this  planet,  miraculous  germs  of  spiritual  life,  containing  wonderful 
instincts  of  discernment  and  affinity  for  The  Central  Source  of  Reason,  Love,  Delight,  from  which 
we  sprang,  and  of  which  we  become  mysteriously  the  Expression. 

But  while,  naturally  and  normally,  drawn  to  seek,  and  delight  in,  happiness,  we  are  unconscious  of 
its  constituting  conditions  and  the  physical,  mental  and  moral  departments  of  life  through  which 
it  plays. 


We  are  born  alike,  ignorant  and  innocent  of  Life’s  stupendous  reach  or  circumscriptions  ; and  only 
learn,  by  experience,  tradition,  intuition  or  revelation,  the  splendor  of  our  inheritance  and  the  scope  of 
our  reciprocal  obligations. 

Considered  from  the  point  of  view  of  character  and  immortal  happiness,  as  much  as  temporal 
delight,  man  s true  victory  in  life  is  the  discernment  and  application  of  those  overruling  Principles  and 
Methods  (alike  physical,  ethical  and  esthetical)  which  establish  the  health  of  his  body,  morals  and 
constructive  mind  ; and  provide  both  safe  and  salubrious  growth  and  play  for  physical  and  spiritual 
powers  together. 

The  lower  animals  enjoy  a health  that  comes  from  primitive  instincts  of  obedience  toward  these 
natural  laws.  The  higher  animals  below  man,  even  add  to  this  an  intelligent  delight  in  conscious  mind 
(as  where  intelligent  dogs  love  to  comprehend  and  obey  a master’s  purpose  in  gathering  flocks  or  hunting 
game). 

In  some  of  the  more  imaginative  and  constructive  birds  and  beasts,  there  is,  even,  delight  in  Art  and 
rudimentary  Beauty  (as  where  the  “ bower-bird  ” weaves  for  his  love  a bower  promenade,  and  decorates  it 
with  pleasant  shells  or  colored  objects). 

But  supremely,  over  all,  the  idealizing  and  emotional  powers  of  man  raise  him  above  such  fellow 
creatures,  and  place  him  among  the  Gods.  And  especially  is  this  true  of  his  spiritual  faculty  for  perceiving 
and  applying  abstract  Principles  of  Life,  originally  and  constructively,  as  though  in  “ the  footsteps 
of  God.” 


It  is  to  these  “ higher  faculties  ’ of  the  soul  of  the  reader,  rather  than  to  his  lower  imitative  and 
animal  faculties,  that  this  book  of  Art  Principles  appeals. 

Philosophy  has  ever  attempted  to  record  the  drift  of  those  vital  Principles  that  it  perceived,  though 
at  times  somewhat  narrowly  and  intellectually  ” from  the  Head  ” alone,  but  at  other  times  more  broadly 
“from  the  Heart,” and  Anally  in  “the  Life  ” itself,  and  in  the  “ Art  of  Life.” 

Thus,  as  an  intellectual  Greek,  Aristotle  too  closely  confined  it  to  the  soul’s  power  of  perception  and 
contemplation  in  his  dictum  “ Philosophy  is  the  science  which  considers  Truth.”  As  did  the  modern 
philosopher.  Cousin,  when  adding  to  this  the  power  of  description  and  record,  in 

“True  Philosophy  merely  establishes  and  describes  what  IS.” 

But  Cicero  had  gone  closer  to  the  word’s  formation  and  spirit  (philo-sophia)  in  adding  more  of  the 
Affection  for  Good,  in  his  words  : > - 

“ Philosophy,  if  rightly  defined,  is  the  Love  of  Wisdom.” 

Which  Voltaire  strengthens  by  “The  discovery  of  what  is  True,  and  the  Practice  of  what  is  Good, 
are  the  most  important  objects  of  philosophy.”  Thus  bringing  forward  both  Mind  and'  Heart  to  the 
Practice  or  Art  of  good  and  truthful  living,  even  as  Plutarch  had  in  the  words  “ Philosophy  is  th'e  Art 
of  living,  and  as  Seneca  had  in  “ Philosophy  is  both  the  Law  and  Art  of  Life.  It  teaches  what  to  Do 
in  all  cases.”  — 

But  now  the  sad  fact  remained  that  man  does  not  always  “do”  what  he  “ knows  ” to  be 
so  that  Shaftesbury  adds  : 

“ It  is  not  a Head  merely,  but  a Heart  and  Resolution  which  constitute  the  true  philosopher.” 

And  at  last  our  own  Thoreau  defines  it  vitally,  in  Life  Itself,  by  the  words  : 

“ Philosophy  is  so  to  love  Wisdom  as  to  Live  according  to  its  dictates.” 

Thus  we  are  finally  driven  to  the  query.  What  is  Wisdom,  that  we  must  “perceive,”  “record,” 
“ love,”  “ will,”  and  “ live  ” Her  ? 

And  to  answer  this  best,  we  hearken  to  the  mighty  voice  of  Inspiration  in  the  mouth  of  that  greatest 
philosopher  of  all  time,  King  Solomon  of  Israel. 

Wisdom  and  Understanding  ! A crown  of  BEAUTY  shall  She  deliver  unto  thee 

The  LORD  possessed  Me  (Wisdom)  in  the  beginning  of  His  Way  before  the  Works  of  old.  When  He 
established  the  Heavens  I was  there.  Then  was  I by  Him  as 


A MASTER  WORKMAN  ! ” 

Thus  we  see  that  true  philosophy  is  not  only  perception,  record,  love  and  resolution  to  live  Truth 
and  Goodness,  but  that  Wisdom  herself  is  The  Spirit  to  understand 

The  Way  of  the  Lord,  in  such  degree  as  to  cooperate  Constructively  and  tangibly  in  It,  as 
A Master  Workman,  that  we  may  be  crowned  eternally  with  The  Crown  of  the  Glory  of 
God’s  Beauty  transmitted  through  us. 

“If  man  has  the  eyes,’’ says  Plato,  “to  see  True  Beauty,  he  becomes  The  Friend  of  God  and 
Immortal.’’ 

So  that  indeed,  true  victory  and  true  greatness,  alike  for  one’s  life  as  that  of  others,  is  not  the 
enhancement  merely  of  our  wonder  and  delight  at  The  Divine  Finger  as  it  moves  through  time  and  space, 
carving  its  miracles  of  form  or  painting  the  splendor  of  its  palette  ; nor  even  the  power  or  riches  acquired 
thereby  on  earth  ; but  rather  the  permanent  touch,  the  comprehension,  sympathy  and  desire  with  which 
henceforth  we  live  in  harmony  ivith  the  Master  Mind  and  join  constructively  in  the  works  of  the 

GREATEST  ArTIST- ArTISAN. 

Now  Philosophy  conveniently  subdivides  her  labors,  so  that  while  it  is  the  aim  of  the  science  of 
physics  to  disclose  those  Principles  and  Laws  of  nature  which  conduce  to  man’s  physical  well  being  and 
adaptation  to  environment,  it  is  the  science  of  ethics  to  reveal  those  that  advance  his  moral  growth 
and  character.  But  it  becomes  the  specific  aim  of  the  science  of  esthetics  (or  The  Beautiful)  to  correlate 
all  these  and  commend  the  marvelous  celestial  Methods  and  Principles  of  collective  Harmony,  by  which 
God  seems  to  move,  in  making  His  handiwork  significant , poetic,  glorious,  upon  the  side  of  proportioned 
and  balanced  Beauty  ; with  the  Spirit,  Grace,  Fascination,  Charm,  Inspiration  and  Poetic  meaning,  He 
evinces  throughout  the  realm  of  Nature  His  “Workshop.’’ 

In  brief,  and  perhaps  with  bolder  grasp,  we  should  claim  that  Abstract  and  Absolute  Beauty 
extends  her  mighty  wing  over  every  department  of  creative  plan  and  constructive  life  (divine  or  human) 
in  proportion  as  immortal  and  celestial  Principles  maintain  their  sway.  And  the  sincere  physicist  will  find 
Beauty  as  truly  in  the  perfect  adjustments  and  workings  of  physical  forces,  as  the  moralist  will  in  the 
perfect  character,  or  the  musician  and  painter  will  in  the  nightingale,  the  lily,  and  the  rose.  It  is  a differ- 
ence in  degree  rather  than  in  kind. 

Thus  JT«o»v)!>*Of^exclaims  : 

“ I but  open  my  eyes,  and  Perfection,  no  more  and  no  less. 

In  the  kind  I imagined,  full  fronts  me  ; and  God  is  seen  God 
In  the  star,  in  the  stone,  in  the  flesh,  in  the  soul,  in  the  clod.’’ 

And  still  another  writer  says  : 

“We  are  surrounded  by  a shoreless  and  fenceless  world  of  Beauty  and  Spirituality  ; and  Art  (whether 
in  color,  stone,  sound  or  words),  is  simply  its  translation,  more  or  less  imperfect.  All  Art  is  Expression. 
Poetry,  Painting,  Music,  Architecture,  are  only  so  many  beautiful  Roads  to  The  Most  High.  Successful 
workers  in  them  must  one  and  all  possess  what  the  Bible  calls  ‘Open  Vision.’  He,  of  all  persons,  must  be 
both  seer  and  interpreter  of  that  Spirit  which  lives  behind  things  and  life,  and  which  gives  them  vitality, 
meaning  and  charm.  Why  do  we  delight  in  life  with  all  her  children  ? Because  one  and  all  suggest 
that  Presence  back  of  things.” 

“ It  is  the  Divinity  Within  that  makes  the  Divinity  Without,"  writes  Washington  Irving. 

The  mighty  Life,  that  breathes,  lives,  pulsates  and  compels  behind  and  between  the  static  dust  of 
matter,  and  that  uses  matter  as  Its  agent  to  convey  Its  mystic  movements.  Its  beautiful  meanings,  does  so 
by  the  Arrangements  of  the  atoms  of  Earth,  as  a writer  would  express  himself  by  arranging  the  atoms  of 
lead  or  ink  into  letters.  But  we  must  learn  His  language. 

If  we  only  recognize  chaotic  blots  upon  the  page,  we  imply  lack  of  mind  or  of  meaning,  of  intellect 
or  of  intention.  If  we  see  the  letters  and  words  independent!)’  and  correctly  formed  but  ill  arranged  or 
unrelated,  we  imply  perhaps  a Mind  but  not  an  intelligent  Thinker.  Should  we  decipher  a connected  and 
intelligent  thought,  or  even  a profound  and  wonderful  purpose,  but  unrelated  to  us  individually,  or  unin- 
spiring to  us  practically,  we  would  concede  a noble  author  or  (if  in  Nature)  A Divine  Creator.  But  when 
we  find  intelligent  Order  in  connected  and  consistent  Process,  combined  with  splendor  of  Moral  Purpose 
conveying  Immortal  Principles  and  Methods  involving  Wisdom,  Love,  Beauty  and  Poetic  Inspiration 
related  to  every  individual  in  the  whole  and  to  the  whole  in  every  individual  part,  then  we  worship  “The 
Master  Mind,”  The  Universal  Friend  and  Parent,  The  Might)’  “Artist-Artisan.” 

“There  is  a Beyond,”  writes  the  famous  philologist  Max  ^Muller,  “and  he  who  has  once  caught  a 
glance  of  It  is  like  a man  who  has  once  gazed  at  the  Sun,  wherever  he  looks  he  sees  its  image  ! Speak  to 
him  of  finite  things  and  he  will  tell  you  that  the  finite  is  impossible  without  the  Infinite.  Speak  to  him 
of  death  and  he  will  call  it  birth.  Speak  to  him  of  time  and  he  will  call  it  the  shadow  of  eternity.” 

This  deepest  underlying  consciousness,  inner  Vision  and  inspiration  has  never  been  absent  from  the 
greatest  seers,  philosophers,  poets,  artists,  however  modified  by  personal  or  local  imperfection  and  incom- 


pleteness.  Indeed  the  Divine  Spirit  seems  to  work  Itself  out  and  color  the  pure  whiteness  of  its  own 
“Absolute”  Perfection  by  the  very  “human”  qualifications  or  material  modifications  through  which  It 
reveals  Its  purposes  upon  Earth. 

Humboldt  writes  ; “ Natural  objects,  even  when  making  no  claim  to  Beauty,  excite  the  feelings  and 
imagination.  Nature  pleases,  attracts,  delights,  because  it  is  Nature.  We  recognize  in  it  Infinite  Power.” 

And  the  poet  £mer..so>v  sensitively  intimates  this  in  the  lines: 

“ Let  me  go  where  I will 
I hear  a sky-born  Music  still ! 

It  sounds  from  all  things  old. 

It  sounds  from  all  things  young  ; 

From  all  that’s  fair — from  all  that’s  foul 
Peals  out  a cheerful  Song  ! 

It  is  not  only  in  the  rose. 

It  is  not  only  in  the  bird. 

Not  only  where  the  rainbow  glows. 

Nor  in  the  song  of  woman  heard, 

But  in  the  darkest,  meanest  things. 

There’s  alway,  alway,  Something  Sings  ! ” 

They  here  recognize,  not  merely  that  “ Immanence  of  Deity” — that  omnipresence  of  The  Great 
Spirit — of  which  the  psalmist  sings,  when  he  says  : 

“Though  I take  the  wings  of  the  morning 
And  dwell  in  the  uttermost  parts — Thou  art  there  ! ” 

But  something  vaster  and  more  mysterious  still  as  conveying  that  steady  Conquest — that  ultimate  Victory 
of  The  Great  Spirit  over  the  transitional  phases  which  (imperfectly  comprehended  by  men)  seem 
“adverse,”  or  situations  so  apparently  imperfect  and  incomplete  that  “Absolute  Beauty”  is  not  yet 
exemplified  thereby. 

Seen  from  an  Archangel’s  point  of  view,  a flying  dragon,  of  pre-Adamite  days,  would  still  seem 
weirdly  beautiful  in  its  dramatic  adaptations  and  personifications  of  primaeval  conditions  and  forces  ; and 
it  is  doubtless  these  biological  influences,  in  oriental  brain  itself,  which  makes  them  still  wring  such 
decorative  splendor  out  of  such  primitive  agents,  while  to  man  advanced  and  humanized  such  types 
become  obsolete. 

David  had  intimated  this  same  thought  in  the  continuation  of  the  above  stanza  where  he  adds  : 

“ Though  I make  my  bed  in  hell 
Behold  Thou  art  there?” 

Thus  with  humility  and  wonder  combined  with  strange  courage  we  dare  to  press  on  through  the 
uplifting  veil  of  mystery  and  glory  which  surrounds  our  little  globe,  knowing  in  some  intuitive  way,  that 
the  very  blemish  of  the  imperfect  leaf  but  reveals  the  clearer  the  elements  of  perfection  in  the  complete 
one  (if  only  by  contrast  or  opposition),  and  the  repulsion  we  feel  from  ugliness  becomes  the  measure  of 
our  affinity  for  The  Beautiful. 

it  IS  intensely  interesting,  therefore,  to  note  at  the  outset,  how  persistently  and  universally,  in  all 
departments  of  ennobled  human  life,  this  Immortal  Presence  and  Its  Principles  loom  in  upon  the 
Consciousness  of  the  grandest  characters  and  workers,  as  the  wellspring  ot  their  inspiration,  their 
influence,  and  their  power. 

The  Roman  Philosopher,  Seneca,  exclaims  : 

“ If  any  one  gave  you  a few  acres,  or  a house  bright  with  marble,  its  roof  beautifully  painted' with 
colors  and  gilding,  you  would  call  it  no  small  benefit  ! Can  you  deny  the  benefit  of  the  boundless  extent 
of  Earth  ? God  has  built  for  you  a mansion  that  fears  no  fire,  covered  with  a roof  that  variously  glitters 
by  day  or  night ; we  have  implanted  in  us  The  Seed  o'.'  All  the  Age.s — All  the  Arts  ! And  God  our 
master  leads  forth  our  intellects  from  obscurity.” 

The  eminent  Scientist  Lubbock  similarly  writes  : 

“ The  world  we  live  in  is  a Fairy  Land  of  exc[uisite  Beauty  ! Our  very  existence  is  a miracle  in 
itself,  yet  few  of  us  enjoy  and  none  appreciate  fully,  the  beauties  and  wonders  which  surround  us.  Nature 
loves  those  who  love  her,  and  richly  will  reward  therri  with  the  best  things  of  this  world — bright  and 
happy  thoughts,  contentment  and  peace  of  mind.” 

The  Poet  Wordsworth,  kindling  to  the  same  truth,  says  : 

“ * * * Nature  never  did  betray 
The  heart  that  loved  h^r — ’tis  her  privilege 
Through  all  the  years  li  this  our  life,  to  lead 


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From  joy  to  joy  : for  she  can  so  inform 
The  mind  that  is  within  us,  so  impress 
With  quietness  of  Beauty  and  so  feed 
With  lofty  thoughts,  that  neither  evil  tongues, 

Rash  judgments,  nor  the  sneers  of  selfish  men, 

Nor  greetings  where  no  kindness  is,  nor  all 
The  dreary  intercourse  of  life 
Shall  e’er  prevail  against  us,  nor  disturb 
Our  cheerful  faith  that  all  which  we  behold 
Is  full  of  blessings. 

To  every  fortn  of  being  is  assigned 
An  Active  Principle  howsoe’er  removed 
From  sight  and  observation.  It  subsists 
In  all  things,  in  all  natures,  in  the  stars 
Of  azure  heaven,  in  the  pebbly  stone. 

In  moving  waters  and  the  invisible  air  ! 

Spirit  that  knows  no  isolated  spot. 

No  chasm,  no  solitude — from  link  to  link 
It  circulates  The  Soul  of  All  the  World.” 

Goethe  says  : 

“ Nature  is  the  living  visible  garment  of  God.  There  is  no  trifling  with  her.  She  is  always  true, 
grave,  severe,  always  in  the  right.  The  faults  and  errors  are  ours.  She  defies  incompetency,  but  reveals 
Her  secrets  to  the  competent,  the  truthful,  the  pure.” 

Juvanel  exclaims  : “Nature  and  wisdom  always  say  the  same  thing 
which  Gallileo  echoes  in  the  idea,  “The  laws  of  nature  are  the  thoughts  of  God;”  and 
Cowper  clarifles  by,  “Nature  is  but  a name  for  an  effect  whose  cause  is  God.”  Novalis, 
hearing  the  Universal  Spirit  tenderly  singing,  adds:  “Nature  is  an  Aeolian  Harp,  a musical 

instrument  whose  tones  are  the  re-echo  of  higher  strings  within  us.”  And  Percival  enthusiasti- 
cally cries:  “The  world  is  full  of  Poetry!  The  air  is  living  with  its  Spirit!  The  waves  dance 
to  the  music  of  its  melodies  and  sparkle  to  its  brightness.”  And  Richter,  more  exquisitely  still,  insists  : 
“ There  are  so  many  tenderand  holy  emotions  flying  about  in  the  inward  world,  which  like  angels  can  never 
assume  the  body  of  an  outward  act,  so  many  rich  and  lovely  flowers  spring  up  that  bear  no  seed,  that  it  is 
a happiness  that  Poetry  was  invented,  which  receives  all  these  spirits,  the  perfume  of  all  these  flowers  ! ” 

Here  we  note  that  this  sensitiveness  of  spiritual  ear,  this  “ open  vision  ” is  caught  up  and  given  the 
name  of  Poetry,  by  him  whose  art  is  Rhythm.  But  it  runs  synonomously  through  all  the  arts,  for  Fuller 
writes  : 

“ Poetry  is  music  in  words.  Music  is  poetry  in  sound.” 

^Macaulay  puts  it : 

“ Poetry  is  the  art  of  doing  by  words  what  the  painter  does  by  colors.” 

Chapin  seeing  it  in  the  sincerities  of  heart  says  . 

“ Poetry  is  the  utterance  of  deep  and  heartfelt  Truth.  The  poet  is  very  near  the  oracle.” 

Along  which  conviction  Joubert  felt  when  he  wrote  : 

“You  arrive  at  Truth  through  poetry,  I arrive  at  Poetry  through  truth.”  And  Plato  when  he 

adds  : 

“Poetry  comes  nearer  Truth  than  history  ! ” 

To  the  unity  of  all  these  with  the  Good  and  the  Beautiful,  Coleridge  evidently  refers  in  his  confession  : 

“ Poetry  has  been  to  me  its  own  exceeding  great  reward.  It  has  given  me  the  habit  of  wishing  to 
discover  the  Good  and  Beautiful  in  all  that  surrounds  me.”  While  Bailey  adds  to  its  comprehensiveness 
that  spirit  of  sacred  communion  and  inspiration  that  gives  the  final  spark,  the  sacred  flamma,  which  is  the 
evidence  of  a Living  Power  : 

“ Poetry  is  a thing  of  God  ! He  made  His  prophets  poets.  The  more  we  feel  of  Poesie  the  more 
we  become  like  God  in  Love  and  Power.” 

Thus  we  are  driven  with  philosopher,  poet,  priest,  musician,  painter,  sculptor,  architect,  and  even 
with  the  humblest  human  heart — (for  Andre  claims  “ Every  man  that  suffers  is  a poet ! Every  tear  a 
verse!  Every  heart  a poem  ! ”)  into  the  inner  pen^ralia  where  Spirit  Universal  dwells,  and  recognize 


I 


that  out  of  a Central  Sun  there  radiates  a light  whose  rays  and  colors  are  variously  baptized  by  man,  but 
whose  Inner  Essence  is  ever  One  and  harmonious  ; portals  to  the  same  Celestial  City  ; facets  of  the  same 
Celestial  Diamond. 

It  is  when  the  soul  becomes  conscious  of  the  harmonic  nature  of  any  thought,  wish  or  act,  with  those 
that  flame  and  burn  at  the  Central  Heart  of  The  Universe,  or  when  the  mind  grasps  the  symphonic  prog- 
ress of  these  movements  along  the  same  vital  and  Spiritual  Principle,  guiding  the  whole  ; or  when  the  eye 
beholds  their  living  presence  in  the  perfection  of  any  constructed  forms,  sounds,  colors,  &c.  ; that  the  de- 
light experienced  by  sensitive  and  wholesome  characters  is  given  the  name  of  Beauty. 

It  is  probable,  also,  that  whatever  sensitizes  the  soul  on  one  side  toward  Beauty,  may  attune  it  so 
much  the  more  delicately  to  its  “ voices  ” whispering  upon  another.  And  possible  that  it  is  passed  as  a 
benediction  to  families  or  races  that  receive  its  commission.  Though  even  then  a spiritual  affinity  seems 
predicated,  and  I believe  it  will  be  found  more  generally  a transmission  from  spirit  to  spirit  wnenever 
responsive  chords  are  touched  and  mystic  connections  are  opened. 

Ruskin  remarks  : 

“There  is  no  branch  of  human  work  whose  constant  laws  have  not  a close  analogy  with  those  that 
govern  every  other  mode  of  man’s  exertion.  Exactly  as  we  reduce  to  greater  simplicity  and  surety  any 
one  group  of  these  practical  laws  we  find  them  passing  analogy  and  becoming  the  actual  expression  of 
some  ultimate  nerve  or  fibre  of  the  mighty  laws  that  govern  the  moral  world.  However  inconsiderable  the 
act,  there  is  something  in  the  well  doing  of  it  allied  to  the  noblest  forms  of  manly  virtue.  The  Truth, 
Decision,  Temperance,  we  regard  as  honorable  conditions  of  spiritual  being,  have  a derivative  influence 
over  the  works  of  hand  and  action  of  intellect.” 

In  similar  recognition  of  this  underlying  vital  harmony,  Lafcadio  Hearn  writes  (on  Greek  sculpture): 
“The  nudity  which  is  divine,  which  is  the  abstract  of  Beauty  Absolute  gives  the  beholder  a shock  of 
astonishment  and  delight  not  unmixed  with  melancholy.  The  longer  one  looks,  the  more  the  wonder 
grows,  since  there  appears  no  line,  whose  beauty  does  not  pass  all  remembrance.  So  the  secret  of  such  art, 
was  long  thought  super  natural,  and  in  very  truth,  the  sense  of  Beauty  it  communicates  is  more  than  human. 
It  resembles  the  first  shock  of  Love  ! Plato  explained  the  shock  of  Beauty  as  the  soul’s  sudden  half  remem- 
brance of  The  World  of  Divine  Ideas.  The  human  ideal,  expressed  in  such  art,  appeals  surely  to  the 
experience  of  all  that  past  enshrined  in  The  Emotional  Life." 

Haegel  in  his  Ailsthetik  adds  : 

“ Art  fulfils  its  highest  mission  when  it  has  thus  established  itself  with  Religion  and  Philosophy  in 
The  One  Circle  common  to  All,  and  is  merely  a method  of  revealing  The  Godlike  to  man  ; of  giving 
utterance  to  the  deepest  interests,  the  most  comprehensive  truths. 

In  works  of  art,  nations  have  deposited  the  most  holy,  richest,  intensest  of  their  ideas,  and  for  the 
understanding  of  the  philosophy  and  religion  of  a nation,  art  is  mostly  the  only  key  we  can  attain.” 

To  this  Max  Muller  points  out  that  “ What  we  call  Religion  would  never  have  sprung  from  fear 
alone.  Religion  is  Trust,  and  that  trust  arose  in  the  beginning  from  the  impressions  made  on  the  mind 
and  heart  of  man  by  The  Order  and  Wisdom  of  Nature  ; and  particularly  by  those  regularly  recurrent 
events,  the  return  of  the  sun,  the  revival  of  the  moon,  the  order  of  seasons,  the  law  of  cause  and  effect, 
gradually  discovered  in  all  things  and  traced  back,  in  the  end,  to  A Cause  of  causes.” 

“The  ancient  religions  are  symbols,”  says  Crane,  “of  the  Forces  of  Nature  evolved  from,  perhaps 
some  common  type  through  endless  modifications — a natural  mythology  common  to  all.  Religion  trans- 
formed becomes  poetry.  Heroic  shapes  personify  psychical  and  moral  forces ; lesser  personalities  are 
rolled  into  greater  ; greater  are  lost  in  types  ; events  generalized.  The  image  of  past  experience  of  the 
race,  upon  the  general  mind,  becomes  generic  like  that  of  visual  impressions  in  the  individual.  It  is  the 
natural  tendency  of  the  human  mind  which  gives  figurative  art  its  importance.  Expression  is  the  clay  on 
which  it  works  ; imagination  is  the  creative  force  ; a sense  of  Beauty  its  controlling  Power.  In  the  nat- 
ural world  we  find  constructive  strength  united  with  Beauty  and  fitness  governed  by  adaptability  to  cir- 
cumstance. Structural  necessities  lend  themselves  naturally  to  Design  and  are  universally  pleasing.  Both 
in  life  and  art.  Beauty  is  not  something  accidental.  It  is  an  organic  thing,  having  its  own  laws,  its  own 
logical  causes  and  consequences.  It  is  A Living  Force,  A Living  Presence,  and  therefore  ever  varying 
in  its  forms,  as  we  follow  it  down  this  stream  of  time  and  mark  its  habitation  from  age  to  age. 

“The  delight  of  Beauty,  be  it  human  or  wild,  of  light,  color,  form  or  sound,  is  a common  possession 
and  necessity  of  life,  as  in  the  higher  sense  it  must  be,  so  long  as  the  human  has  claim  to  be  the  higher 
animal.  Certain  birds  and  animals  have  been  proved  to  be  sensitive  to  certain  colors  and  decorative 
effects,  which  sensibility  is  wrapped  up  with  the  very  fact  of  germination  and  continuity  of  life  itself  ; and 
this  convinces  us  how  far  down  and  deeply  rooted  is  this  sense  in  Nature,  which  has  been  so  highly  special- 
ized in  man.  Cultivated  or  uncultivated,  modified  by  centuries,  influenced  by  modes  of  thought  and  con- 
ditions of  life,  it  flowers  anew  ! Art  is  the  language  of  this  Universal  Feeling  ” 

Finally,  in  arranging  our  conception  and  study  of  Beauty  and  its  arts,  within  that  “One  Circle” 


of  thought,  which  is  symbolic  of  the  soul’s  outlook  on  Ltfe,  we  may  summarize  all  the  preceding  by  the 
tenet  of  Delsarte  : 

“The  object  of  Art  is  to  crystalize  Emotion  into  Thought  and  then  fix  it  in  Form,”  or,  taking  the 
finer  simile  of  Christ,  who  always  taught  “by  parables”  {i.e.,  artistic  symbols).  Art  is  the  miraculous  trans- 
formation of  the  pure  “water”  of  Truth  into  the  warm  “wine”  of  Love,  or  emotion,  and  making  it  play 
and  sparkle  through  the  varied  facets  of  the  crystal  goblet  of  Grace,  Inspiration  and  Charm,  in  which  each 
Pentecostal  beholder  receives  it  through  “his  own  language  ” and  personality,  but  by  the  same  Principles 
and  Method  of  Eternal  Beauty.” 

The  Divine  Nature  seems  to  possess  Primordeal  Attributes  of  Law,  Love  and  Grace,  which  in  the 
experience  of  life  become  Truth,  Goodness  and  Beauty  ; and  in  the  cultures  of  man  become  Science, 
Religion  and  Art;  and  in  the  personal  character  become  Good  Judgnie^it,  Good  Will  and  Good  Taste — the 
practical  virtues. 

It  is  these  Relations,  mainly,  which  it  is  our  province  to  examine  ; and  the  vital  Principles  and 
Methods  by  which  they  attain  artistic  Expression  which  we  should  teach.  For  this  the  book  is  specially 
written. 

“ The  ignorant,”  says  Quintillian,  “may  enjoy  Beauty,  but  the  educated  understand  the  Reason  for 
the  enjoyment,”  and  (we  might  add)  thereby  secure  the  Light  to  enjoy  it  rightly,  in  harmony  and  sympathy 
of  will  with  its  creator. 

“What  we  understand  by  The  Kingdom  of  God,”  says  Giles,  “are  The  Principles  in  their  forms, 
modes  of  action  and  mutual  relations,  just  as  we  speak  of  the  mineral,  vegetable  and  animal  kingdoms. 
The  vegetable  kingdom  is  something  more  than  the  aggregate  of  all  plants.  It  consists  in  The  Principles, 
Laws  and  Forms  of  vegetable  growth.  So  The  Kingdom  of  God  is  not  a mere  collection  of  men  and 
women,  but  comprises  All  the  Elements  of  The  Divine  Nature.” 

“ A Principle  thrown  into  a good  mind,”  says  Pascal,  “ fruits  as  a grain  thrown  into  good  soil.  Every- 
thing is  created  and  conducted  by  the  same  Master — the  root,  the  branch,  the  fruit — The  Principles,  the 
Consequences.” 

And  Muller  closes  the  thought  for  us  in  these  words  : 

“We  ought  to  know  How  we  have  come  to  be  what  we  are  that  we  may  advance  to  higher  attain- 
ment. Not  to  know  what  precedes  is  to  care  little  for  what  succeeds.  Life  would  be  a chain  of  sand 
instead  of  An  Electric  Chain  that  makes  our  hearts  tremble  and  vibrate  with  the  most  ancient  thoughts  of 
the  past,  as  the  most  distant  hopes  of  the  future.  We  are  what  we  are  by  the  toil  of  intellectual  ancestors. 
We  know  now  there  are  Stages  of  GrowTh  not  determined  by  accidental  environment  only,  but  by  Original 
Purpose,  to  be  realized  in  the  history  of  the  human  race  as  a Whole.” 


T 


CORNING  therefore,  now,  to  our  symbolic  Circle  Chart,  the  necessity  is  evident  for  our  locating  The 
Spirit  of  Life,  as  the  origin  of  volition  and  motion,  at  the  Centre  of  the  soul’s  horizon,  and  dividing 
the  scope  of  our  vision  into  Three  Main  Segments,  like  the  facets  of  a crystal  prism.  If  only  in 
pictorial  outline,  it  is  appropriate  to  recognize  at  the  outset  Three  Main  Relations  of  thought  and  experi- 
ence which  have  primordially  urged  forward  man  in  the  progress  of  his  civilization.  As  artists,  we  may 
prefer  the  third  and  last  section  as  we  prefer  the  fragrance  of  a blossom  above  its  branch  or  root,  but  it 
is  advantageous  to  sketch  these  lightly  in  as  its  “ setting.”  The  Kingdom  of  Art,  like  “the  Kingdom  of 
Heaven,”  of  which  it  is  a part,  maybe  sym.bolized'  by  the  same  “grain  of  wheat  that  was  planted” 
and  grew  ; 


“ First,  The  Blade  ” (or  constructional  support). 

“Then,  The  Ear”  (or  maternal  environing  sheath). 

“ Then,  The  Full  Corn  ” (or  glorious  fruition  of  vital  Food). 

God  Himself,  because  He  is  an  Artist,  employs  suggestive  and  symbolic  methods.  “ Without  para- 
bles (symbolic  stories)  Christ  taught  not  at  all”  declares  Holy  Writ.  The  veil  of  the  Temple  was  indeed 
a symbol  of  his  primal  mysteries,  which  by  His  own  inspirations  and  permission,  time  is  gradually  raising 
to  reverential  eyes.  Had  all  been  told  at  start,  had  all  knowledge  been  final,  that  very  finality  might  have 
stilled  growth  and  dulled  ambition.  The  mists  of  human  limitation  hide  the  mountain  of  God's  glory  but 
appropiately  enhance  thereby  its  splendor  and  spirituality.  The  Deity  is  a poet  and  artist  throughout  His 
work,  and  we  must  look  for  Him  in  the  same  spirit  or  we  may  not  find  Him  (though  “not  far  from  every 
one  of  us”).  To  the  literalist  and  materialist  fumbling  with  the  mere  atoms  of  the  ink  and  recognizing  no 
Mind  behind.  He  comes  with  rod  of  confusion  and  perturbation.  But  to  the  loving  child  whose  sensitive 
intuition  reads  between  the  lines  the  implications  of  the  Fathers  soul.  He  comes  in  Glory  and  Benediction! 
“ All  Nature,”  says  Chapin,  “ is  a vast  Symbolism!  Every  material  fact  sheathes  a spiritual  truth.” 

“Passions,  seasons,  senses,”  says  Crane,  “virtues,  vices,  life  and  death  itself — all  belong  to  Allegory, 
continually  reappear  in  newer  shapes,  being  by  nature  so  protean  no  form  may  hold  them.”  “ Nature,” 
says  Emerson,  “ is  too  thin  a screen.  The  Glory  of  The  One  breaks  through  everywhere  ” ! 

In  the  First  Section  of  our  Circle  Chart  we  locate  that  Intuitive  Region  which  belongs  to  the  per- 


EVOLUTION  IN  ART 


1 

Nature’s  Triune  Manifestations. 

1ST.  Abstract  Truth  in  Spiritual  Ideals,  Relations  and  Volitions. 

2ND.  Concrete  Good  in  progressive,  transitional,  material  Embodiments. 
3RD.  Eternal  Beauty  in  Perfected  Purposes  and  Revealed  Vital  Principles. 


SUBJECTS  Or  STUD>. 


1st 

2d 

3^ 

4th 


Spirit  of  Nature 


AS 


Principles  of  Nature 


Laws  of  Nature 


Methods  of  Nature 


(Ix  WHICH  vSHE  ACTS.) 

( “ 

(By 

( “ 


MANIFESTS.) 

LIMITS  Her  .Esthetic  AcTiox.y 
EAIPLOYS  IN  Her  “ “ ) 


\ 


Originality. 

iNOrVIDUALITY. 

Freshness-iu-Familiarity. 

Simplicity-in-Complexity. 

Variety  in  Equipoise  and  Unity. 
Spirituality,  Ideality,  Poetry. 

Mysterj’,  Suggestiveness,  Promise. 
Aspiration,  Inspiration,  Self-Revela- 
tion. 

Vitality,  Energj-,  Daring,  Sublimity. 

Restfulness,  Stability,  Serenity,  Self- 
Respect. 

Care,  Temperance,  Freedom-Wise. 
Patience,  Endurance,  Ruggeduess, 
Discipline. 

Truth.  Frankness,  Openness. 

Scope,  Universality,  Generosity,  Rich- 
ness. 

Fullness,  Completeness,  Finish. 

Taste,  Refinement,  Purity. 

Delicacj',  Grace,  Charm. 

Joy.  Play,  Sparkle,  Brilliancy. 

Felicity,  Facility,  Fertility,  Variety. 
Immortality,  Goodwill,  Furtherance. 
Sympathy,  Beauty,  Perfection. 


Per-ception.  In-sight. 

Purpose,  Forethought,  Plan  Arrange- 
ment. 

Conservation,  Transmission,  Progres- 
sion. 

Unity,  Order,  Regularity. 

Equalitj',  Equipoise  or  Balance. 
Dominance,  Subordination, Co-ordina- 
tion. 

Selection,  Rejection,  Control. 
Emphasis,  Proportion,  Symmetry. 
Gradation.  Crescendo,  Cadence. 
Harmony,  Co-operation,  Accommoda- 
tion. 

Discretion,  Propriety,  Fitness. 
Consistency.  Adaptation. 

Conformity.  Flexibility. 

Congruity.  Sensitiveness. 

Reasonableness,  Naturalness,  Whole- 
someness. 

Wisdom,  Utility,  Efficiency,  Economy. 
Sincerity,  Genuineness,  Honesty. 
Clarity,  Decision,  Definiteness. 

Embellishment,  Fascination. 
Fruition,  .Achievment. 

Sustained  Pleasure. 


LIMITATION  AND  CONDITION 


Space, 

Length. 

Breadth. 

Thickness. 


Time. 

Sequence. 


Force- 


Re- 


Pulsion. 


Energy — Volition. 
Static. 
Dynamic. 
Tendency — Action 
and  Reaction. 
Pulsation — Rhythm. 

Motion-Ceutri-|^“f®{; 


Opposition. 

Tension. 

Contrast. 

Competition. 

Equilibrium. 

Co-operation. 

Co-ordination 

Organization. 

Growth. 

Persistence. 

Reproduction. 

Reconstruct’n 


Directness. 

Angularity. 

Repetition. 

Continuity. 

Extension. 

Progression. 

Procession. 

Revolution. 

Evolution . 

Expansion. 

Dispersion. 


Straight. 

Oblique. 

Rectangular. 

Parallel. 

Curved. 

Undulate. 

Circular. 

Cylindric. 

Conic. 

Ovate. 

Elliptical. 

Parabolic. 

Hyperbolic. 

Spiral. 

Tangential. 

Radial,  etc. 


f In-tegration. 

Transformation  ■<  Dis-integration . 

I Re-integration. 


FORMULA.— FOR  M . 

Structure — Function . 
System — Skill. 


Relation. — Scale-R  itio. 


Numeric. 
Quantitative. 
Metric,  Geometric. 
Distributive. 
Formal. 

Dynamic. 

Structural. 

Functional. 

Vital. 

Intellectual. 

Emotional. 


5th  Spirit  of  History.  its  limitations.  methods  and  styles.  Character. 


Repetition. 

Mechanicalizing. 

Parallelism. 

Conventionalizing. 

Series  1 

Literal  izing. 

( Plane. 

Individualizing. 

Reflection. 

Generalizing. 

Contrast. 

Symbolizing. 

Alternation. 

Idealizing. 

Counterchange. 

( -scribing. 

Juncture. 

Trans-  -s  -lating. 

Overlapping. 

Interlacing. 

Linking,  Looping. 

Cabeling. 

Strapping. 

Interpenetration. 

Fusion,  etc. 

(.  -muting. 

“ Media. 

“ SUGGESTIVENESS. 


6th  spirit  of  the  Present. 


Its  Li.mitations,  Methods,  Styees,  Ch.\r.\cter. 

“ I^.^EDIA. 

“ vSuGGE.STIVENE.SS. 


7th  Spirit  of  Special  Technical  Media.  Character.  Li.mitations.  Processes. 

vS  i:  G G EST I E N ESS — 

Laws  of  LIGHT  and  COLOR. 


Limitations — OPTICA  L. 


soiial  consciousness  of  Individual  Soul — at  the  origin  of  its  spiritual,  invisible, — yet  rational  and  volitional 
Being  where  it  is  One  zvith  its  Father  God. 

In  the  Second  Section,  of  our  Circle  Chart,  we  find  that  Region  of  Natural  Evolution  by  which 
terrestrial  environment  has  been  prepared  by  Spirit  for  Its  self-expression  through  forms  of  life. 

In  the  Third  Section  of  our  Circle  Chart  we  discover  the  Spirit  in  man  unfolding,  at  the  head  of 
organic  nature;  and  alone,  at  last,  researching  the  records  of  Divine  Advance,  in  Reverent  Communion 
with  The  Creator,  for  the  Spiritual  Principles  and  Purposes  directing  the  Progression. 

The  First,  is  the  realm  of  Ideal  Relations,  Abstract  Truths  and  Primal  Volitions  which  seem  to  be 
the  Source  of  force  itself. 

The  Second,  is  the  Concrete  material  embodiments  and  transitional  phases  of  those  volitions,  termed 
natural  phenomena  about  us. 

The  Third  is  the  Realm  of  Reflection,  Discernment,  Deduction,  among  the  steadily  uncovered  plans 
and  perfected  purposes  which  reveal  to  us  the  Principles  and  Methods  of  Beauty. 

“A  true  work  of  Art  is  a reflex  of  Divine  Perfections  ” said  Michael  Angelo. 

We  also  give  at  this  point,  a full  page  plate  of 

THE  SUBJECTS  FOR  STUDY 

classified  in  the  order  of  their  importance,  and  of  their  intellectual  relations,  as  a birds  eye  view  of  the 
mental  field  concerned;  though  for  consistency  with  nature’s  sequences  in  growth  of  mind  (individual  and 
racial)  we  will  try  to  unfold  the  theme  logically  “from  roots  to  fruits.” 

Man’s  earliest,  as  well  as  latest  visions  of  “ The  Celestial  City  ” of  Truth,  show  us  figuratively  what 
Science  now  makes  fact — “A  Tree  of  Life”  growing  (organically  developing)  “in  the  midst  of  the  Garden 
of  God,”  and  “A  River  of  Life”  flowing  (by  continuity  of  progress)  from  “The  Throne  ” — the  leaves  or 
waves  whereof  are  “for  the  healing  of  the  nations.” 

And  this  emblem  of  Order  and  natural  “ growth  ” in  thought  we  will  regard — according  to  St. 
Paul’s  Law  that  “That  is  not  first  which  is  spiritual,  but  natural ; then  afterward  that  which  is  spiritual.” 

“ A mental  effloressence  ” (or  flowering)  says  Crane  “ springs  from  life’s  rough  way  which  in  words, 
become  figurative  speech  or  rises  to  poetry,  but  in  design  become  emblem  and  allegory.” 

We  also  give  each  step  or  lesson  in  Compact  Summary,  or  outline,  with  diagramatic  helps  and  appro- 
priate illustrations,  that  student  or  teacher  may  hold  the  Unity  of  the  theme  conveniently  in  mind,  and  the 
harmony  of  the  whole,  while  stimulated  freely  to  fill  in  from  his  own  reflection  and  experience,  the  inter- 
spaces of  thought  which  are  intentionally  made  suggestive  and  vital,  rather  than  “set”  or  “final.” 

Referring  now  to  The  First  Third  of  our  Circle  Chart,  where  an  index  finger  points  our  beginning, 
we  recognize  within  man’s  self  conscious  spirit  the  first  roots  or  foundations  for  constructing  beauty  and 
defining  art  as  false  or  true.  For  the  animals  below  him,  in  the  presence  of  the  same  Nature,  could  not  so 
discriminate. 

His  primitive  groping  was  doubtless  long  upon  the  same  plane  with  them,  in  animal  sensations  of 
delight  in  outward  Nature,  for  his  primitive  weapons  and  ornaments  so  indicate.  But  the  idealistic  and 
imaginative  faculties,  even  then,  show  themselves  early  under  way  in  novel  combinations  and  forms,  dis- 
crete selections  of  barbaric  but  harmonic  colors  and  nature  adaptations.  The  spiritual  faculties  which 
divided  the  lowest  savage  from  the  highest  brute  soon  created  and  diffused  through  his  art  efforts  a con- 
sciousness of  Spiritual  Cause  dimly  divined  and  rudely  grotesqued  of  course,  but  sincerely  worshiped  in 
the  detected  Principles  ot  Order  and  Repetition  by  rhythmic  dance,  mystic  fetish,  ornamental  totems, 
etc.,  derived  more  or  less  directly  from  natural  suggestions  and  demonstrations  in  recurring  seasons, 
planetary  phases  or  withdrawals,  and  the  myriads  of  natural  decorative  motives.  He  made  keen  con- 
jectures into  primal  Type  Forms,  from  which  he  must  have  suspected  the  familiar  forms  about  him  were 
derived,  for  he  worshiped  them  as  “ Sacred,”  and  incorporated  them  into  his  charms  (veritable  forecasts 
of  coming  Science).  Then  in  time  his  military,  domestic,  and  sacerdotal  implements  became  alive  with 
artistic  struggles  to  embody  ideas  of  Proportion,  Fitness,  Adaptation,  Harmony  (both  of  design  and  color) 
stamped  clearly  with  Originality  and  conscious  Individuality  controlled  by  Generalization.  Good  Archeo- 
logical Museums  abound  in  examples  of  these  brave  and  impressive  efforts. 

However  primitive  our  ancestors,  we  must  not  consider  them  less  sensible  or  less  “ sensitive  ” merely 
because  less  “ informed  ” than  modern  times.  They  seem  to  have  frequently  made  up  by  integrity  direct- 
ness and  zeal  of  observation,  for  lack  of  art  tradition ; and  at  last  to  have  attained  by  simplicity  and  grandeur 
of  style,  some  art  expressions  among  primal  forms,  which  are  at  once  the  sublimest  snd  earliest  among 
classic  embodiments.  On  the  plains  of  Nineveh,  Egypt,  and  India,  by  stupendous  pyramids,  temples,  rock- 
hewn  corridors,  and  gigantic  gods,  they  strove  to  portray  their  intuitions  of  Deity,  as  Infinite  ! Eternal ! 
Sublime  I 


Where  do  we  find  anything  more  weirdly  original,  artistic,  and  expressive  of  vast  though  slumbering 
power,  than  the  mighty  Sphinx?  Symbol  of  wisdom  and  patient  strength,  silently  contemplative,  controlled 
by  Intelligence,  peering  through  eternal  Time  across  infinite  space,  and  over  the  endless  sands  of  life! 

Or  has  any  conception  of  artist  imagination  and  toil  attained  more  overwhelming  grandeur  than  the 
Three  Awesome  Pyramids  themselves,  that  flank  the  sphinx,  and  look  down  from  forty  centuries  upon  the 
withering  dynasties  of  Man  ? Poised  immovably  upon  massive  Basal  Squares  and  presenting  to  posterity 
the  clear  cut  edges  of  an  eternal  Triangle,  they  seem  to  have  been  the  symbol  of  an  immortal  “ Trinity  ” 
they  felt  to  be  in  “God.” 

We  find,  too,  in  ihese  early  people,  marvellous  insight  into  the  abstract  Geometric  Relations  which 
are  the  roots  of  all  form  of  generation,  and  the  very  soul  of  the  wonderful  Oriental  ornament.  We  find 
amazing  powers  of  Plan,  construction,  mechanical  application  of  force  to  vast  masses,  for  artistic  effects 
of  great  dignity  and  durability,  approaching  Nature  herself  in  grandeur  of  style. 

When  we  behold  the  marvellously  cut  and  superposed  plinths  and  columns  of  Egypt  and  Chaldea, 
piled  in  imposing  splendor  upon  the  valley  of  Nile  and  Euphrates,  or  some  graceful  Greek  temple  crown- 
ing an  Acropolis,  we  do  not  know  which  to  admire  most,  the  gems  of  genius  in  the  brain  of  man,  or 
the  setting  provided  them  by  the  brain  of  Nature.  The  human  art  has  something  in  it  of  the  primeval 
majest)’  we  find  in  the  natural  art  of  mountain  or  “ Enchanted  Mesa.” 

Says  Ex-President  Hill  of  Harvard:  “Particles  of  matter  take  in  obedience  to  Force  aci\v.g 

according  to  Intellectual  Law.  Natural  symmetry  leads  men  first  to  investigate  the  Mathematical  Law 
which  it  embodies,  then  the  Mechanical  Law  which  embodies  it.  Thus  all  the  benefits  of  our  race,  from 
the  discovery  of  the  keys  of  physical  science,  were  bestowed  through  suggestions  of  Geometric  Thought, 
in  outward  creation.” 

We  shall  see  also  that  the  consideration  of  Dynamics,  or  the  mere  tendencies  and  distributions  of 
Force  (whether  “ active  ” or  “ static,”  actual  or  only  “ implied  ”),  become  of  highest  importance  in  Esthetic 
effects,  and  these  were  early  felt  and  utilized  with  impressive  power. 

Every  one  is  familiar  with  Nature’s  clever  decorative  suggestions  of  these  in  towering  pines,  combing 
breakers,  flowing  manes  or  tails  of  dashing  steeds,  bristling  lions,  etc.  We  have  been  delighted  by  brilliant 
Japanese  designs  caught  from  suggestions  of  running  water^  drifting  clouds  hurtling  rain  and  hail,  eddying 
leaves  and  flying  fowl.  (See  Charts  XVII  and  XXXIV.) 

And  when  we  come  to  graceful  spans  of  springing  bridges,  groined  arches,  or  climbing  turrets  of 
cathedral  towers,  seeming  to  scale  heaven’s  gates,  we  recognize  the  artistic  value  of  implied  motion  in 
giving  esthetic  charm. 

It  is  for  this  reason,  that  in  drawing  the  human  figure  (as  in  Chart  XXIV),  it  is  of  highest  import- 
ance to  express  fully  and  freely  the  general  motions  and  tendencies  of  the  figure  and  its  members  before 
developing  forms  and  details.  Especially  should  we  remark  the  highly  significant  Tendency  of  Organic 
growths  to  develop  expansively  “ from  Right,  to  Round,  to  Radiate  ” Relations,  as  in  the  unfolding  of  a 
closed  hand,  or  the  spreading  of  a fan.  (See  Chart  XIV,  a.) 

In  the  Second  Third  of  The  Circle  Chart  we  have  a vast  realm  (lately  correlated  by  physical  science) 
w'hich  we  briefly  and  compactl)'  suggest,  merely,  in  diagramatic  summary,  but  in  the  natural  ascending 
order  of  life,  that  the  practical  art  work  of  Nature  may  be  seen  to  give  the  premonitions,  to  Brain,  of  Vital 
Principles,  which  it  will  reapply  in  human  art.  It  is  also  explanatory  of  the  delight  experienced  and 
imparted  thereby  when  identical  elements  are  readjusted  to  express  those  principles. 

It  was  this  section  of  physical  and  biological  creation,  before  the  advent  of  man,  that  Moses  may 
have  seen  in  vision  so  long  ago,  when  he  exclaimed,  “God  saw  everything  that  He  had  made,  and  behold  it 
was  very  Good” — because  man  would  first  employ  that  term  to  cover  the  wise  provisions  for  his  physical 
well-being  which  that  section  displays. 

In  it  we  are  able  to  catch  some  glance  (pictorially)  of  the  Order  and  splendor  of  advancing  Mind 
and  Purpose,  generating  artistic  Form,  up  from  unstable  volume  and  shape  in  gasses,  to  stable  volume 
but  unstable  shape  in  liquids,  up  to  stable  volume  and  form  in  solid  substances. 

Thence  to  the  higher  qualities  imparted  to  substance  by  advancedmobilities  and  distributions, 
reflected  through  nobler  biological  forms  and  kingdoms  of  life — through  mineral,  vegetable,  and  animal 
relations  and  the  refining  functions  of  accretion,  nutrition,  locomotion,  sensation,  and  reproduction, 
geologically  recorded.  Till  fascinating  Character  and  Individuality  begin  to  appear  in  the  beauties  of 
Morphology  and  Natural  History  where  crystals  graduate  unto  glorious  “gems”;  vegetation  grow's 
resplendent  with  perfecting  fruit  and  flora  ; and  animal  life  mounts  by  steps  of  brain  perfecting  to  loftier 
functions  and  utilities.  Then  finally  we  behold  the  form  of  man  appear,  condensing  into  greater  splendor 
of  harmonic  adjustment  the  lightness,  grace,  strength  and  elegance  of  all,  preceding,  and  reigning  over  all 
with  resplendent  Reason,  Reflection  and  Genius.  Capable  at  last  of  reviewing  the  past,  appreciating  his 
Creator,  and  though  a “ little  lower  than  the  angels  ” crowned  with  the  glory  and  honor  of  Reverence, 
Comprehension  and  Inspiration  ! 

In  the  Third  and  Last  Section  of  the  Circle  Chart  we  can  note  this  “genius”  in  the  soul  of  man 


(and  even  premonitions  of  it  in  his  animal  friends)  modifying  their  own  forms  and  the  forms  of  their 
environment,  voluntarily  and  constructively,  to  give  expression  to  specific  need  and  new  individualities  or 
ideals.  We  have  witnessed  the  Art  of  The  Creator,  we  then  witness  the  art  of  the  Creature.  Mollusks 
unrolling  and  decorating  their  rainbowed  shells;  fishes,  reptiles,  insects,  birds  and  beasts,  taking  specific 
style  and  character,  expressive  of  the  Three  Prime  Categories  of  Form,  and  giving  unique  style  and 
significance  to  their  nests,  homes,  etc. 

Then  man  the  highest  artist  of  them  all,  advances  in  intellectual  and  moral  beauty  through  barbaric 
to  civiilized  states,  both  of  association  and  art  expresssion,  strewing  the  highway  of  his  Heavenward 
climb  with  the  utensils,  weapons,  costumes,  dwellings  and  religious  s3fmbols  corresponding  to  the  degree 
of  perception,  inspiration  and  conceptive  power  attained. 

It  is  in  this  Realm  we  shall  find  Three  Prime  Relations  of  Will  which  seem  to  give  intent  and 
direction  to  Force,  at  the  Origin  of  Life  (see  Charts  XII  and  XXXVlil),  appear  steadily  operative  in 
giving  specific  style  to  Form — first  in  Three  Main  Categories  and  then  in  their  combinations  and 
derivatives.  These  Three  Main  characteristics  become  set,  on  higher  and  higher  planes,  into  physical  and 
racial  Types — strongly  marked  and  indicative  of  specific  Trends  (both  mental  and  moral)  which  again  set 
their  stamp  upon  the  thought,  ideals,  and  historic  functions  of  personal,  family,  and  national  life. 

The  practically  Active  1 

The  passively  Amiable  become  types  of  brain  and  temperament  in  Personality’  ; 

The  impressionably  Imaginative  j 

Where  in  family  relation  they  become 

Dominant  male  “ Fatherhood  ” 1 

Receptive  female  “Motherhood  ” I 

Volatile  expansive  “ Childhood  ” J 

And  in  social  aggregation  and  evolution  they  give  marked  peculiarity  to 

Northern,  'j 

Southern,  Civilizations,  by  racial  and  geographical  expansion. 

Oriental  J 

The  margins  of  influence  will,  of  course,  overlap  and  interlace  by  fusions,  marriages,  etc.,  but  a 
central  characteristic  will  prevail,  and  racial  types  remain  marked,  where  subordinate  branches  blend. 

National  Genius  will  reflect  this  degree  of  pure  or  composite  derivation,  in  the  characters  and 
qualities  of  its  energies  typically  forecast  in  the 

Competitive  1 

Cooperative  Relations  of  atoms  at  the  start  of  life, 
and  Coordinative  | 

And  social,  religious  and  esthetic  ideals  will  correspondingly’  vary  with  each  step,  that  prepares  our 
mind  for  the  later  amalgamations  that  modern  unity  and  democracy  is  effecting. 

External  forms  forever  change  to  internal  necessities.  Expanding  commerce  and  closer  interde- 
pendence creates  a solidarity  and  “ Brotherhood,”  adjusting  its  forms  to  ever  higher  and  subtler  propor- 
tions which  portray  in  stupendous  summary  the  outlines  of  Omnipotent  Design. 

In  the  poetic  lines  of  Emerson’s  wood  notes  ; 

“ If  thou  wouldst  know  the  mystic  song 
Chanted  when  the  sphere  was  young — 

’Tis  the  chronicle  of  Art  ! . . . 

Onward  and  on  The  Eternal  Pan 
Who  layeth  the  world’s  incessant  plan, 

Halteth  never  in  one  shape. 

But  forever  doth  escape 
Like  waves  of  flame  into  New  Forms  ! ” 

The  poetic  figures  of  remote  Hebraic  tradition  which  hand  down 
under  patrionimic  titles 

“Japhetic”  to  the  Northern  “ islands  of  the  Gentiles;  ” 

“ CiiAMiTic  ” “ Southern  “lands  of  Misraim,”  or  Africa  ; 

“Shemitic”  “ mountains  of  “ the  East,”  or  India; 

will  now  grow  intelligible  in  the  light  of  modern  data  and  comparison. 

We  are  obliged  to  recognize  with  President  Hill  that  the  very  beginning  of  Form  Reasoning  is  the 


Three  Great  Race  Migrations 


j 


intellectual  perception  that  the  motion  of  the  humblest  atom  through  space  records  Force  and  Volition. 
That  every  point  thus  becoming  a line,  or  line  becoming  a plane,  or  planes  composing  into  forms,  register 
Intellect  by  their  relations,  and  spiritual  Intent  b}"  their  functions.  They  are  vitally  “alive,’’  from  centre 
to  circumference,  and  from  the  most  primary  to  the  most  composite  combination. 

But  the  astounding  revelation  grows  upon  us  as  we  study  Form,  that  highly  significant  and  sugges- 
tive tendencies  and  trends  in  Force  and  Form  (which  we  discover  in  earliest  relations  and  primitive  sym 
bols)  are  forever  reappearing  and  reasserting  themselves  with  marvelous  pregnancy  and  persistency  in  the 
higher  and  higher  concepts  of  human  Art. 

Thus  the  gifted  English  decorator  and  poet,  "Walter  Crane,  very  truly  says  : 

“ Pattern  in  its  simplest  form,  regarded  in  the  abstract,  is  a series  of  modifications  in  the  structure 
and  correlation  of  Line.  Man  need  look  no  further  than  sun  and  sea  to  find  the  genesis  of  Pattern.  Nay, 
his  own  frame,  as  Vitruvius  shows,  comprises  or  is  comprised  in  both  Square  and  Circle.  These  may 
be  said  to  divide  the  responsibility  for  the  whole  race  of  Pattern  systems  between  them  as  a kind  of  Coelus 
and  Terra.  These  are  suggestive,  too,  of  different  characteristics  of  race,  language  and  civilization. 
Broadly  speaking,  the  Square,  with  its  divided  checquers,  zigzags  and  diapers,  might  almost  stand  as  a 
symbol  of  the  ornaments  of  northern  nations,  associated  as  the  former  are  with  Scandinavian  and  Gothic 
pattern  work.  While  The  Circle,  with  its  derived  scrolls  and  spirals,  seems  figurative  of  the  greater 
suppleness  and  sensitiveness  to  beauty  of  the  southern.  And  it  is  to  ancient  Greece  and  Italy  we  must 
look  for  their  most  perfect  types.  Square  and  angular  patterns  strike  us  at  once  by  their  Emphasis  and 
Rigid  Logic,  while  circular  and  curvilinear  types  appeal  to  Rhythm  and  Grace.” 

This  groping  of  a true  art  instinct  was  bringing  him  directly  to  the  great  elements  which  we  have 
tried  to  arrange  and  define  somewhat  more  fully  and  systematically  in  this  book — when  *•  sun  and  sea  ” 
will  be  found  to  be  the  children,  not  parents  of  the  Square  and  Circle  ; and  ^vhere  also  the  Third  Great 
Prime  Relation  and  Type  Form,  The  Star,  will  be  located  in  its  right  connection,  and  given  its  full 
significance  and  resplendent  Beauty. 

It  was  probably  for  this  last  Relation  that  Mr  Crane  was  feeling  in  his  concluding  clause  where  he 
adds  : “ For  Richness  and  Intricacy  we  must  go  —where  perhaps  Square  and  Circle  came  from — to  the 
home  of  the  Arabesque,  i.  e.,  to  the  East.” 

Along  similar  intuitions  Prof.  Max  Muller  must  have  been  moving  when  he  wrote  on  India  : 

“ As  in  nature  there  is  a ‘North  and  South,’  so  there  may  be  two  hemispheres  in  human  nature,  both 
worth  developing  ; the  active,  combative  and  political,  on  one  side  ; the  passive,  meditative  and  philo- 
sophical on  the  other.  The  Aryan,  whom  we  knew  as  Greek,  Roman,  German,  Celt,  Slav,  active  and 
political  in  northern  migrations,  we  find  passive  and  meditative  in  India.  A real  natural  growth,  I 
helieve,  having  hiddeji  purpose  and  lesson.  If  I were  to  ask  myself  from  what  literature  we,  in  Europe 
may  draw  that  corrective  which  is  most  w'anted  to  make  our  life  more  perfect,  comprehensive,  universal 
more  truly  Human,  a life  not  for  this  life,  but  a Transfigured  Eternal  Life,  I should  point  to  India.” 

With  similar  point,  Lafcadio  Hearn  writes  : 

“ The  man  of  science  cannot  ignore  the  enormous  suggestions  of  the  new  story  the  Heavens  are 
telling!  He  finds  himself  compelled  to  regard  the  developments  of  what  we  call  ‘ Mind  ’ as  a general 
phase  in  the  ripening  of  planetary  life  throughout  the  universe.  The  Oriental  Mind  has  been  better 
prepared  than  the  Occidental  to  accept  this  tremendous  revelation — not  a wisdom  that  increaseth  sorrow 
but  a wisdom  to  quicken  Faith.  And  I cannot  but  think  that  out  of  the  certain  Future  Union  of  Western 
Knowledge  with  Eastern  Thought  there  must  proceed  a later”  (Faith)  “inheriting  all  the  strength  of 
science,  yet  spiritually  able  to  recompense  the  seeker  after  Truth  with  the  recompense  foretold  in  The 
Diamond  Cutter,  ‘They  shall  be  endowed  with  the  Highest  Wonder.’  ” 

Which  recalls  the  words  of  Coleridge  ; 

“ In  wonder  all  philosophy  began,  in  wonder  it  ends,  and  admiration  fills  the  interspace  ! But  the 
first  is  the  wonder  of  ignorance  ; the  last  is  the  parent  of  Adoration  ! ” 

And  so  Prof.  Austin  Phelps  may  be  guided  by  the  same  “Star”  to  a fuller  day  of  Truth,  in  his 
words  ; 

“For  the  foundation  of  a life  of  joy  in  communion  with  God,  we  need  more  of  the  spirit  of  the 
Vision  of  Patmos.  Our  northern  and  occidental  constitution  often  needs  to  be  restrained  from  excess  of 
phlegmatic  wisdom.  I think  we  must  have  something  to  learn  from  the  impulsive  working  of  The 
Sotithern  and  The  Oriental  I must  believe  it  was  not  without  a wise  forecast  of  world  necessities 

and  insight  into  Human  Nature  All  Around  that  God  ordained  that  the  Bible,  which  contains  our  best 
models  of  sanctified  culture,  should  be  constructed  in  The  East,  where  emotional  natures  can  be  broken 
up  like  the  foundations  of  ‘The  Great  Deep.’  ” 

To  be  more  accurate  and  full  in  the  comprehension  of  these  three  symbolic  Race  Trends  and 


Missions — we  should  say  that  the  competitive  energies  and  severe  practical  logic,  symbolized  by  the 
rectangular  Square,  have  been  most  felt  and  developed  by  those  Japhetic  people  which  spread  through 
northern  Europe  and  are  today  characterized  by  cold,  stern  downrightness,  business  logic  and  intellectual 
science,  as  well  as  military  energy  and  governmental  grasp. 

But  the  more  feminine  and  social  civilization,  with  plastic  and  mobile  temperament,  qualified  by 
“ Heart  ” rather  than  “ Head,”  and  b}’  religious  rather  than  scientific  genius,  have  rightly  The  Circle  for 
symbol,  and  are  more  reflected  through  the  great  temple  building  branches  of  the  Second  (or  •‘Chamitic”) 
Race,  which  expanded  so  centrally  over  Messopotamia,  Syria,  Egypt  andthe  Mediterranean  coasts,  crossing 
and  blending  their  margins  of  influence  in  Greece,  Italy,  Spain  and  southern  France  with  Japhetic  neigh- 
bors to  the  north — and  by  the  competition  of  war  and  peace  obtained  a knowledge  of  each  other’s  genius 
and  advantages. 

While  Eastward — over  Persia,  India  and  Asia,  radiated  the  influence  of  the  still  more  imaginative, 
volatile,  metaphysical,  poetic  and  artistic  Third  Race  Type  (“  the  Shemitic  ”),  whose  symbol  is  “ The  Star,” 
and  from  which  the  Abramitic  (or  Hebraic)  Branch  was  ultimately  led  forth  to  estabish  “Faith  in  The 
Oneness  of  God.” 

B)'’  progressive  stages  of  revelation  and  realization,  this  last  Abramitic  family  seems  destined  to  collect, 
correlate  and  compose  “ into  One  ” the  severed  fragments  of  the  faiths,  missions  and  characteristic  beauty 
of  each  brother  race  ; as  well  as  to  set  in  order  their  appropriate  developments  of  Truth. 

For  they  found  already  growing  to  their  north,  the  ethical  culture  and  social  character  typified  by 
The  Square,  land  idealized  into  sacred  sagas  of  Odin,  Thor  and  the  Walhalla  of  militant  heroes  who 
among  the  very  glories  of  Heaven  must  forever  reassert  (by  death  and  resurrection  in  chivalric  battle)  the 
Beauty  of  Individual  Rectitude,  Truth,  Courage,  and  Masculine  Energy  implied  in  The  Square.  Of  these 
the  race  hero  Siegfried  must  ever  win  his  ideal  love  Brunehilda,  and  his  ideal  ‘‘  Hero  Heaven,”  against  the 
crude  and  chaotic  forces  of  untamed  forests,  dwarfed  and  cunning  men,  and  the  temptations  of  Gold,  till 
Spirit  rises  dominant  and  purified  “as  though  by  fire  !” 

On  the  other  hand,  to  the  south  and  southwest,  throughout  Egypt  and  its  tributaries,  etc.,  the 
Hebrews  fowled  a vast  and  patiently  prolonged  civilization,  where  human  intuition  and  reflection  had 
recognized  more  clearly  that  side  of  Deity  which  The  Circle  might  typify.  Here  God  was  not  felt  so 
strongly  (as  by  the  northerners),  in  His  character  ot  Judge  and  Warrior,  but  rather  more  in  His  conde- 
scending and  self-sacrificing  patience  as  Intermediator,  where  through  long  centuries  (under  the  title  of 
“ Osirus,”  and  the  symbol  of  the  patient  “Ox  ')  He  is  represented  as  stooping  Himself  to  drazv  the 
burdened  chariot  of  Humanity  and  put  His  own  shoulder  beneath  the  yoke,  to  teach  submisssion  to  central 
Law.  Its  symbolic  “horns”  of  power  appear  derived  from  the  growing  “Crescent”  of  the  feminine 
moon,  and  the  perimetre  of  the  “ Sacred  Disk  ” (or  Circle). 

Here  Abram  was  to  find  this  conception  a harbinger  and  prototype  of  “ The  Messiah  ” to  be  born 
from  his  own  seed  (in  the  person  of  the  coming  “Christ  ”),  when  he  journeyed  from  Padan  Aram  south- 
ward with  Sarah,  his  “sister  and  wife.”  Here  she  was  (symbolically)  to  be  acquired  by  the  Egyptian 
monarch  and  then  returned  to  him  unprofaned.  And  here  Joseph  and  Moses,  later,  are  mysteriously  to 
be  “ subject  unto  ” it  till,  in  the  fulness  of  time  and  destiny,  the  Christ-child  Himself  was  to  be  conse- 
crated, that  the  prophesy  of  centuries  might  be  fulfilled  “ out  of  Egypt  have  I called  my  son.”  For 
verily,  here,  long  centuries  of  discipline  had  not  only  developed  in  the  soul  of  man  the  ethical  conception 
and  character  of  enduring  Patience,  and  subordination  of  all  terrestial  life  to  the  hope  of  a celestial,  but 
had  cast  this  into  sublime  art  symbols  and  resplendent  tombs  (far  more  elaborate  than  their  earthlv 
homes).  And  here  in  the  providence  of  over-ruling  Soul,  Abram’s  race  was  to  learn  the  great  lesson  of 
The  Circle,  that  “ Here  have  we  no  continuing  city,  but  we  seek  one  to  come  even  an  heavenly”;  and 
“ by  patient  continuing  in  well  doing,  to  seek  for  glory,  honor,  immortality,  eternal  Life!” 

Lastly,  in  their  own  promised  land  of  Canaan,  and  at  the  mystic  Christmas  tide  of  the  .Messiah's 
advent,  they  were  to  absorb  the  last  and  sublimest  symbolic  lesson  of  all — the  lesson  of  “The  Magi,”  the 
wisdom  of  “The  East”  and  the  sacred  “Star”  of  Heaven!  That  the  soul  of  Humanity  must  also 
be  guided  in  its  sacred  discovery  and  worship,  b)'^  the  deep  and  pure  light  of  refined  metaphysics,  delicate 
deduction,  subtle  implications  of  planetary  movement,  the  breathing  of  God’s  voice  in  the  mulberry  leaves, 
the  divining  of  the  inspiration  of  sensitive  Spirit  throughout  All  Nature  ! Herein  they  were  to  catch 
up  the  revelation  of  that  Third  Great  (“Oriental”)  Trend  of  cosmic  thought  and  experience,  which 
had  subordinated  all  existence  (heavenly  or  earthly)  unto  God  in  a devout  “Pantheism”;  and  by  the 
“ absorbtion  ” of  all  spirit  finally  “into  Universal  Brahm.”  Under  the  royal  type  of  “Rama  ” it  had  also 
generated  and  fixed  its  “ideal  hero”  as  that  nobility  of  character  which  hides  its  very  royalty,  and 
sacrifices  pride,  position,  power  and  wealth  in  humblest  services  toward  suffering  fellowmen.  And,  as 
it  were,  again  we  see  divinely  antetyped  that  sacred  significant  theme  of  “ the  Christ  washing  the 
disciples’  feet.” 

It  was  these  three  sublime  ethical  intuitions  of  Truth  which  had  been  forecast  throughout  all 
morphology,  biology,  and  sociology  in  the  advance  of  animal  life  and  human  conscience,  that  “ Faithful 


Abram  ” and  his  children  were  to  unify  and  crystalize — and  which  were  to  render  their  ethics  so  vital  and 
pervasive  by  their  revering  : 

r ist,  The  Beauty  of  The  Square — in  Truth,  Law  and  Judgment  (under  Moses), 

2d,  “ “ The  Circle — in  Love  and  Self-Submission  (through  Christ), 

3d,  “ “ The  Star — in  Grace,  Genius,  Personal  Inspiration, 

(by  Pentacostal  showers  of  The  Divine  Spirit,  through  that  radiate  dissemination  of  apostles,  martyrs, 
saints,  heroes  of  all  ages,  down  to  “ The  Latter  Day  ” when  it  was  promised  that  by  a new  outpouring  from 
on  high — “Your  young  men  shall  see  visions,  your  old  men  shall  dream  dreams  ’’). 

For  to  the  end  of  life,  each  soul  finds  written  within  its  being  the  absolute  necessity  of  experiencing 
and  re  expressing  (in  right  Proportion  and  Harmony  to  time,  place,  and  service),  The  Three  Foundation 
Elements  (of  Law,  Love,  and  Grace),  which  seem  inherent  in  the  nature  of  Deity,  as  they  are  the  primary 
Keys  to  the  Constructive  Relations  of  Form  and  to  the  significant  character  of  Beauty. 

The  old  world  was  the  scene,  for  ages,  of  the  competitions  and  rivalries  of  these  separated  elements 
in  racial  evolution,  while  yet  each  segment  was  under  the  necessity,  so  to  speak,  of  developing  and 
assuming  its  own  fractional  truth  and  genius  before  comprehending  and  correlating  with  its  brothers. 

But  Christianity  in  its  marvelous  growth  and  example  seems  to  have  prepared  a soil,  in  broad 
ethical  Unity,  for  their  ultimate  amalgamation  ; and  by  collateral  agencies  in  crusades,  missions,  com- 
mercial association,  etc.,  to  have  assured  their  commingling,  as  by  the  heroism  of  Columbus  and  zeal  of 
religious  colonization  it  outran  destiny  and  opened  a new  world  for  their  combined  association. 

The  northern  (Japhetic)  elements  of  The  Square,  by  Norse,  Teutonic,  Saxton,  and  Celtic  derivatives, 
were  borne  across  to  appropriate  habitat  and  climate  in  North  America.  The  southern,  milder  and 
more  “Chamitic”  derivatives  of  the  Mediterranean  coasts,  were  swept  over  into  Central  and  Southern 
America.  While  across  the  Pacific  and  radiating  through  her  myriad  isles  come  the  children  of  The  Third 
Great  (Oriental)  Phase  of  civilization,  pouring  into  The  Golden  Gate  ! 

The  circuit  of  the  globe  has  been  completed  by  the  linking  of  its  segments — each  section  bringing, 
to  the  commonweal  of  Human  Brotherhood,  the  characteristic  elements  either  of  “ Saxon  sense  with 
Teutonic  stability”;  or  Latin  “religious  enthusiasm  and  sociability  or  Oriental  “ Imagination,  Art,  and 
Industrial  skill  ”!  While  the  freedom  of  thought,  aspiration,  and  government  in  the  new  world,  facilitates 
and  necessitates  the  new  cohesion  ; reacts  upon  the  old  world  by  example,  emulation  and  international 
exhibitions;  and  Providential  interposition  pushes  the  bands  of  conquest  and  commerce  (as  in  the  late 
annexations  of  Hawaii  and  Manilla)  into  a broad  Unity  which  will  perfect  The  Whole  I 

Prof.  Fenellosa,  writing  of  this  juncture  of  America  with  the  Orient,  and  ot  the  prospective  alliance 
of  the  Great  Republic  with  the  best  and  most  progressive  spirit  of  the  Orient,  says : 

“ Our  lot  is  thrown  in  with  the  Eastern  world,  for  good  or  ill,  forever  ! For  this  fusion  is  not  only 
to  be  world  wide  but  final ! Each  absorbes  the  power  and  hope  of  a hemisphere.  Such  as  we  make  it 
now  it  must  remain  ! This  is  man’s  final  experiment  !” 

It  was  “westward”  from  his  oriental  race  that  Abram  started  “ in  faith  ” at  the  “ call  of  God  ” to  go 
“ not  knowing  whither,’"’  but  a “ child  of  promise.”  And  westward  ever,  in  the  footsteps  of  his  ethics, 
“ the  star  of  (highest)  empire  takes  its  way,”  till  in  the  symbol  of  “ the  wandering  Jew,”  the  journey  is 
nigh  complete  and  the  pilgrimage  ended  ! The  Japanese  poet  would  add  : 

“ Son,  the  world  is  full  of  Beauty  1 There  may  be  gardens  more  beautiful  than  these — but  the  fair- 
est of  gardens  is  not  in  this  world — it  is  in  the  Garden  of  Amida  (God),  in  the  Paradise  of  The  West.” 

These  great  historic  evolutions  have  left  art  monuments  of  inestimable  significance  and  value,  all 
along  their  course,  and  have  reflected  their  internal  character  and  stages  of  growth  through  their  external 
physiognomies  and  art  environments,  as  truly  as  a mollusk  does  by  its  shell.  (See  Charts  XXXVIII.  and 
XXXIX.) 

Distinctions  in  nature,  color,  costume,  taste  and  general  being,  still  remain  more  or  less  indicative 
of  primal  type  and  temperamental  difference.  The  “ Northerner  ” being  liable  to  develop  more  tall,  bony, 
angular  proportions  and  with  more  rigid  costume  lines  and  sombre  colors,  characteristic  of  a more  stern, 
introverted,  calculating,  solemn  (at  times  melancholy)  tempei  ament.  Practical,  scientific,  militant,  gov- 
ernmental, “ square-shouldered,”  “long-headed,”  “far-sighted,”  “blue  eyed,”  worshiping  “ 77/^ 
and  given  to  the  arts  of  war,  mechanics,  transportation,  engineering,  &c. 

The  second,  or  “ Southern  ” type,  is  more  plastic,  polite,  tactful,  diplomatic,  social,  genial,  and  of 
generous  impulses  (perhaps,  of  effeminate  tendency),  characterized  by  rounder  forms,  easier  costume  lines 
and  warmer  glow  of  skin  and  eyes.  Given  to  the  arts  of  religion,  civil  policy,  society,  amenity,  diplomacy, 
display.  And  greatly  cherishing  the  amiabilities  of  The  Present. 

The  third,  or  “ Eastern”  type,  is  lighter,  more  delicate  and  sensitive  than  all,  more  naturalistic  and 
complex  like  Nature  herself,  more  volatile,  subtile,  metaphysical,  poetic,  imaginative,  artistic  ; marvelously 


diverse  and  dexterous  in  tasteful  industrial  skill.  Sunny,  childlike,  and  rich  in  costume,  color  and  move- 
ment, worshipful  of  Omnipresent  Spirit,  reverential  of  “The  Past.” 

While  fourth  and  last,  the  remote  (Abramitic)  branch  of  this  great  Family  is  divinely  driven  to  the 
four  corners  of  earth,  to  become  at  once  the  most  diffusive  and  cohesive,  the  most  cosmic  yet  the  most 
tribal,  the  most  broken  yet  the  most  absorbtive,  adaptive  and  retentive,  of  all  social  organisms  and  nation- 
alties,  to  “ gather  into  One  All  the  Family  of  God.” 

We  ought  here  to  note,  that  just  as  each  wholesome  Personality  recognizes  in  itself  a union  of  Dual 
Elements  (spiritual  and  material),  a side  on  which  each  soul  is  individually  itself,  yet  another  side  on 
which  it  is  the  product  of  society,  so  each  race  has  at  times  seemed  conscious  of  its  own  race  genius  being 
somehow  correlated  to  the  others,  by  mutual  and  complementary  necessities,  which  only  time  and  civiliza- 
tion could  make  clear. 

They  seemed  subject  to  a first  law  of  Competition  (which  should  be  sufficiently  strenuous  to  preserve 
Individuality),  yet  drawn  by  time  and  world  evolution  into  a cosmic  Cooperation  and  Coordination, 
which  should  at  last  guarantee  the  larger  whole. 

Nature  was  forever  whispering  the  secret  of  her  primordeal  “ Activity  ” and  “ Passivity,”  her  “ Patern- 
ity ” and  “ Maternity,”  her  “ I nfTfati veness  ” and  “ Receptiveness,”  in  day  and  night,  seed  time  and  harvest, 
summer  and  winter.  They  witnessed  her  acts  and  arts  consummating  this  mystic  marriage — and  as  well 
the  arts  of  animal  life  below  man.  They  soon  conjured  poetic  figures,  in  mythological  terms,  to  convey 
this  perception  of  Divine  Principle,  and  we  have  the  symbolic  rites  of  “Coelus  and  Terra,”  “Orpheus  and 
Euridice,”  “Adonis  and  Cytherea,”  «S:c.  In  time  they' detect  that  human  arts,  in  order  to  impress  the  brain 
as  “Beautiful,”  must  embody  analogous  Relations,  in  “closed”  and  “open”  spaces,  “quiet”  elements  con- 
trasting with  “active”  in  the  composition,  shadows  with  lights,  cool  with  warm  colors,  «fec.,  creating 
rhythmic  cadences  and  equilibriums  in  which  life  pulsation  itself  is  based.  The  brain  being  so  constituted 
as  to  require  for  its  delight  in  Art,  reechoes  and  revivals  of  what  has  given  it  pleasure  (and  existence  itself) 
in  Nature,  i e..  Conditions  of  Form,  Feeling  and  Fancy  akin  to  those  of  The  Creator  of  Nature,  and  to  the 
Principles  and  Methods  involved  in  His  taste  and  invention.  Hence  sprang  a whole  category  of  Arts, 
ranging  up  and  down  a scale  like  “Jacob’s  ladder,”  connecting  Earth  with  Heaven,  in  various  proportions 
of  material  or  mental,  terrestrial  or  celestial  elements  and  utilities  involved.  Thus  creating,  so  to  speak, 
“ minor or  “ major”  Arts  ; i.e.,  those  more  materially  utilitarian  and  technical,  or  those  more  phonetically 
expressive  and  spiritual,  and  there  are  those  between  these  two  extremes,  where  as  at  Bunyan's  “House  of 
The  Kind  Interpreter”  man  finds  a middle  “Beulah  Land,”  where  angel  “sons  of  God”  may  again  “wed 
the  daughters  of  men”  in  a vital  “ Artist-Artisanship.” 

Accordingly  we  mount  by  gradation  from  arts  like  engineering,  practical  chemistry  and  navigation 
(where  man  is  concerned  to  devise  forms  for  transmitting  force  “with  least  resistance,”  rather  than  with 
“most  taste”),  up  through  the  arts  of  agriculture,  cooking,  building,  furniture,  weaving,  dressing  and  jewelry 
(where  direct  utility  to  the  body,  or  beauty  of  mere  material,  associates  with  utility  to  spirit  and  demands 
on  artistic  feeling),  up  to  those  that  make  dominant  the  esthetic  influence  (such  as  Pure  Ceramics,  Higher 
Architecture,  Dramatic  Gesture  and  The  Dance),  to  finally  those  generated  solely  for  Expression  of  esthetic 
genius  and  principles  (such  as  Floriculture,  Decoration,  Sculpture,  Painting,  Music,  Poetry  and  Eloquence), 
until  we  reach  the  very  art  of  Life  Itself  ! 

Among  the  strictly  formal  arts  of  Architecture,  Sculpture  and  Painting  (to  which  the  term  of  “Art” 
is  popularly  confined,)  we  note  the  same  Three  Prime  Characteristics  (from  primitive  relations  of  force 
and  form)  reassert  themselves  ; Architecture  being  the  most  “squarely”  rectangular,  rigorous  and  struct- 
ural, employing  hardy  lines  and  materials  of  support.  While  sculpture  grow’S  more  plastic  in  substance, 
motives  and  movements  (the  ceramic  arts  spinning  upon  the  potter’s  wheel  or  Circle).  But  Painting 
becomes  the  greatest,  lightest  and  most  varied  of  all,  its  comprehensive  range  least  embarrassed  by  mate- 
rial, and  conveying  not  only  optical  presentations  of  its  preceding  sisters,  but  wholly  ideal  conceptions  and 
situations  the  most  elaborate  and  complex  (after  the  symbol  of  the  Star). 

We  may’  close  this  chapter  by  remarking  that  in  this  last  great  art  of  Painting,  and  in  that  Italian 
nationality  where  hitherto  it  is  most  triumphant,  there  have  appeared,  historically,  again  Three  Supreme 
Leaders  of  Genius  personifying  the  same  mysterious  distinctions  of  primal  tendency  and  inspiration,  as 
well  as  bearing  charteristic  names  in  striking  coincidence  with  the  Three  Archangel  types  of  Revelation 
(/>.,  “Michael,”  of  militant  offices  ; “Raphael,”  of  religious;  and  “Gabriel,”  of  civil  offices).  These  giant 
leaders  were  Michael  Angelo,  whose  rigorous  genius  mounts  preeminent  for  titanic  energy,  structural 
severity  of  form  and  grandure  of  lines  (Moses,  the  “Law”  giver,  his  typical  carving,  “The  Last  Judg- 
ment,” his  typical  painting).  Next,  Raphael  Sanzio,  the  gentle,  amiable  and  “beloved  disciple”  of 
religious  feeling  and  of  the  heart,  feminine  in  type  and  temperament,  and  prolific  in  holy  Madonnas 
curving  their  plastic  forms  over  curvilineal  canvases. 

Thirdly,  Gabriel  Rossetti,  “poet-painter,  of  whom  the  critic  Colvin  says,  “though  born  in  the 
midst  of  the  nineteenth  century,  he  belonged  by  nature  to  the  Middle  Age,  when  color  and  life  were  most 
vivid  and  varied,  and  sense  of  supernatural  agencies  most  alive.”  An  Italian  born  out  of  his  age  and 


country  to  convey  to  our  expanding  Saxon  civilization  the  lesson  and  inspiration  of  the  Great  Renaissance. 
By  the  creation  of  a new  Art  “ Brotherhood  ” along  vital  lines  and  organic  priciples  he  summoned  the 
slumbering  genius  of  a new  evolution  from  the  springs  of  national  and  personal  resource^  unto  all  the 
radiate  intricacies  and  possibilities  of  modern  poetry,  beauty  and  industry,  combijied. 

In  him  not  only  Great  Britain  took  her  highest  and  purest  art  impulse  out  of  her  own  Arthurian 
legends  and  poets  (through  the  zeal  of  his  strong  young  allies,  Morris,  Watts,  Millais,  Madoc  Brown,  Burne 
Jones,  &c.),  but  he  lit  the  torch  of  genius  for  the  keenest  and  farthest  sighted  poet-artists  and  artist- 
artisans  of  America. 

His  friend  Hall  Caine  tells  us  that  early  in  life  Rossetti  was  deeply  impressed  by  our  Edgar  Poe’s 
literary  picture  in  “The  Raven,”  of  an  earthly  soul  seeking  its  heavenly  counterpart.  Thereupon  Rossetti 
determined  to  write  his  own  poem  of  “ The  Blessed  Demozel  ” to  portray  the  Heavenly  Spirit  looking 
downward  for  its  terrestrial  partner.  In  this  symbolic  sense,  the  two  halves  of  a great  thought  (of  ideal 
and  material  components),  as  well  as  two  halves  of  our  Saxon  civilization,  may  be  harmoniously  com- 
bining to  effect  a great  destiny,  as  esthetic  as  it  is  ethical  and  political.  The  old  world  poetry  should 
bring  forward  a wealth  of  spiritual  experience  and  inspiration,  and  the  new  world’s  energy,  virility  and 
resource  must  recast  and  reincorporate  the  The  Best  into  millions  of  democratic  realizations. 

Says  one  eminent  critic  : “ Rossetti’s  reputation  long  stood  high,  yet  few  could  explain  the  secret. 
Friends,  disciples,  admirers  spoke  of  ‘ the  master  ’ with  reverent  awe.  It  is  impossible  not  to  respect  a man 
who,  in  these  days  of  insincerity,  believes  in  something  heartily,  continues  to  believe  in  it  and  himself 
all  life  lo7ig  ! Perhaps  more  than  respect  is  due  the  man  who  resolutely  held  aloof  (from  a world  which 
fancies  itself  lawgiver  to  every  man  in  or  out  of  it),  as  did  Gabriel  Rossetti.”  Beautifully  and  tenderly 
Rossetti  expounds  the  true  ambition  of  modern  life,  as  it  should  be,  alike  in  art,  religion  or  society. 
“ Plainly  to  think  even  a little  thought — to  express  it  in  natural  words  native  to  the  speaker — to  paint  even 
an  insignificant  object  as  it  essentially  is — to  persevere  in  looking  at  Truth,  and  Nature.”  Is  not  this  the 
“angel  of  civil  things,”  the  modern  evangel  of  the  simplest  life  of  the  humblest  soul  ? 

Jean  Francois  Millet,  in  France,  had  lived  these  truths  mutely  and  pathetically  in  the  farm  of  Fon- 
tainbleau.  Gabriel  Rossetti  formulated  the  principles  and  transmitted  them.  The  words  of  Burne  Jones 
himself,  speaking  of  his  master,  best  summarizes  for  us  this  “Sacra  Flamma”:  “One  day  Morris  and  I 
discovered  that  we  were  face  to  face  with  something  new  and  wonderful ! It  was  the  opening  of  the  First 
Seal  for  each  of  us  I It  was  Rossetti  the  Poet  who  was  so  new  and  strange  a painter,  and  the  painter  who 
wrote  poetry  with  so  rare  and  strange  a note,  who  appealed  to  us  the  most.  But  we  felt  the  Charm,  the 
Originality,  the  novel  Creative  Spirit  of  each  of  these  men  (Rossetti,  Millais,  Hunt),  and  perhaps  more 
than  all  The  Spirit  common  to  them  all — in  them,  but  yet  beyond  them — the  wonderful,  fresh,  recreative 

SPIRIT  OF  A NEW  DAY  ! ” 

CONDENSATION. 

A summary  of  the  thought  of  our  book  might  here  be  appropriate,  with  a few  of  the  old  masters’ 
illustrations,  compacting  the  fuller  lessons  or  professional  steps  that  follow,  since  they  apply  univer- 
sally to  all  lives,  intellects  or  activities. 

Law  is  the  expression  of  Intelligence  and  Will.  All  Space  is  Alive  with  Law,  i.e.,  with  Spir- 
itual Life.  As  Man  occupies  part  of  space  he  is  Part  of  Spirit,  as  he  is  part  of  matter. 

All  Forms  can  be  reduced  to  planes,  planes  to  lines,  and  lines  to  Points.  A line  is  correctly  con- 
sidered as  a Point  in  Motion,  and  a point  enables  us  to  Gauge  and  Measure  the  motion,  according  to 
Directions  and  Positions  assumed,  as  a sort  of  fulcrum  to  Express  Power  (exactly  as  our  pen  point 
expresses  our  thought  by  its  motion  and  its  record  of  ink  atoms). 

Thus  Universal  Life  is  at  once  Reposeful  and  Active,  (“Static”  and  “dynamic,”  and  though  what 
we  term  “ matter  ” may  be  in  some  way  a passive  form  of  Spirit,  and  though  No  Atoms  of  Matter 
Touch,  yet  we  know  Spirit  from  Matter  by  Spirit’s  Power  to  Move  Matter. 

Hence,  all  Nature  is  Spiritually  Alive  and  all  Natural  Forms  are  Spiritual  Poems,  to  be  read  by 
a Spiritual  Key  Alone.  This  we  quickly’  see  on  crushing  a rose  to  powder  in  our  hand.  We  have  then 
left,  the  same  quantity  of  dust,  but  no  “ rose  ” ! The  Rose  was  the  spiritual  properties  between  the  dust 
atoms,  expressed  spiritually  and  appealing  to  our  spiri’s,  through  the  agency’  of  the  arranged  atoms.  Divine 
Intelligence  had  revealed  His  thought  and  feeling,  to  our  thought  and  feeling,  through  the  arranged  Rela- 
tions of  the  rose  particles  (that  man  disarranged  and  so  lost). 

Our  intelligence,  reason,  volition,  feeling  must,  in  some  mysterious  way’  be  part  of  Gou’s,  and  the 
delight  we  feel  in  Beauty  must  be  part  of  His  delight  in  Beauty’.  Our  disgust  at  ugliness  must  be  part  of 
His  disgust  at  ugliness.  The  Principles  that  are  manifested  back  of  Beauty  must  be  spiritually’  absorbed 
and  reapplied  by’  each  soul,  to  put  itself  in  harmony  with  that  element  in  God,  and  to  perfect  its  own  har- 
mony’ and  happiness,  or  to  create  a true  social  and  individual  life. 


Beauty  is  the  manifestation  of  Perfect  Law,  according-  to  appropriate  conditions  of  time,  place, 
circumstances,  utility  and  wisdom  in  this  adaptation  of  materials  to  ideals.  The  Divine  thoughts,  feelings 
and  ideals  are  taking  harmonic  expression  in  nature  and  man.  Those  of  man  are  taking  more  or  less  har- 
monic expression  in  art,  according  as  man  reechoes  Divine  Principles. 

The  material  elements  are  not  so  important  as  the  spiritual.  Michael  Angelo  was  the  same  grand 
creative  spirit  when  carving  his  statues,  painting  his  frescoes,  writing  his  poems,  erecting  his  cathedral 
domes  or  Florentine  fortifications. 

So  God  is  as  present  a “Poet-Artist  ” in  the  relations  which  constitute  the  lily  as  the  rose,  the  night- 
ingale as  the  bird  of  paradise. 

All  forms  in  nature  are  alive  with  the  Creator’s  ideals  and  full  of  useful,  decorative  or  symbolic  sig- 
nification. It  would  seem  that  by  some  vast  symbolic  significance  the  Three  Great  Type  Relations  of 
Force, in  Competition,  Cooperation  and  Coordination,  have  generated  the  Three  Prime  Forms,  The  Square, 
The  Circle  and  The  Star,  from  which  all  others  are  derived  (as  shown  in  Lesson  XIL).  They  are  sig- 
nificant of  energies  and  characteristics  in  The  Divine  Nature,  and  symbolic  of  moral  qualities  which  we 
discover  rooted  in  the  best  Human  Nature,  and  which  we  designate  as  the  Sense  of 

ist.  Right,  Rectitude,  and  its  resistive  energies  (in  the  square). 

2d.  Condescending  Kindness  and  its  plastic  energies  (in  the  circle). 

3d.  Generosity  and  Inspiring  Genius  in  the  diffusive  energies  (of  the  star). 

While  each  of  these  elements  is  held  to  central  Harmony  of  Formal  Expression  (whether  singly  or 
together)  by  the  Principles  of  LTnity,  Equilibrium,  and  Proportion.  Indeed  they  seem  but  a numeric 
and  formal  advance  of  the  Initiative  and  Creative  Force,  through  the  sequent  changes  of  unfolding 
Ideal. 

Law,  Love  and  Grace  reign  at  the  centre  of  the  Universe  ! They  advance  by  “right  lined”  resist- 
ance, “ curved  line  ” condescension,  and  “ radiate ’’ generosity  as  the  Divine  Energy  unfolds,  in  strict 
“ Proportion  and  Balance  and  Harmony."  All  Natural  forms  express  these  phases,  derivations  and  combina- 
tions, and  gain  style  and  individuality  by  special  fitnesses  to  time  and  puropose.  Human  Arts  receive  and 
reflect  these  intuitions,  and  gain  charm  and  vitality  (or  ugliness  and  decay)  by  their  organic  (or  inorganic) 
adaptation  of  these  fundamental  relations  to  Structure,  Form  and  Composition.  Beauty  is  the  sensation 
that  the  soul  receives  at  perfect  and  harmonic  adjustment  of  these,  to  any  given  time,  place,  purpose,  and 
material.  And  all  forms  (natural  or  human)  only  convey  this  perfectly  when  truly  organic — that  is, 
perfectly  harmonic  zuithin  and  without — alike  in  the  internal  structure  (we  term  “ Scientific  ”)  and  the 
external  fascination  or  attractiveness  (we  term  “Artistic").  In  reality,  the  whole  is  scientific  and  artistic 
together.  The  devout,  loving  and  useful  application  of  these  elements  and  principles  in  serviceable  union, 
for  human  amelioration  or  for  divine  adoration,  is  essential  Religion,  (far  above  pettiness  of  cant,  creed  or 
sect). 

In  this  grand  sense  “ Laborare  est  Orare  ” — To  labor  is  to  pray. 

Toward  this  far-reaching  intuition  the  ages  steadily  advance,  and  the  unfoldings  of  race  movement 
approach,  leaving  their  several  degrees  of  approximation  for  history  and  divine  judgment. 

Our  educational  methods  should  take  this  vital  lesson  from  Nature,  and  educate  the  souls  of  students 
in  Essential  Beauty  (internally  and  externally  correlated  as  the  term  “ Artist- Artisan " implies),  and 
associate  Hand,  Head,  and  Heart  in  a vital  union.  It  should  be  both  educational  and  practical — because 
the  best  education  and  the  best  “ practicality  ” comes  from  this  Organic  Union  of  soul  and  body,  of 
thought  and  deed,  of  Conception  and  of  Execution,  which  is  the  tangible  idea  of  God. 

We  should  not  murder  the  souls  of  the  young  by  dead  and  sterilizing  methods  or  “copy  book  ” sys- 
tems, of  external  unintelligent  mimicry  that  degrades  them  to  monkeys  instead  of  raising  them  to  men. 
We  should  appeal  to  the  God  Spirit  within  each  human  soul,  and  fortify  and  develop  it  by  the  living  and 
inspiring  principles  of  Beauty,  adapted  to  every  material.  Originality,  Ideality,  Order,  Proportion, 
Balance,  Harmony,  &c.,  are  parts  of  God’s  Spirit  and  applicable  to  all  times,  places  and  substances. 
Each  age,  nationality  and  individuality  are  to  be  reinspired,  readjusted  and  restored  by  them,  according  to 
new  needs,  conditions  and  obligations.  New  opportunities  are  thereby  utilized  and  new  virilitiesbegotten. 
All  of  which  adds  new  interest,  delight  and  value  to  human  industry,  expression  and  society,  and  prepares 
man  better  for  eternity.  Nature  thereby  becomes  the  “ friend  of  man  ” and  full  of  wholesome  delight  and 
instruction  according  to  first  intentions  as  the  “ visible  Studio  of  God.”  She  stands  ready  to  reveal,  anew, 
to  every  age  and  soul,  the  Beauty  of  Design,  the  secrets  of  constructive  growth,  and  the  wise  methods  of 
adaptation  to  all  matter.  All  materials  may  thus  become  eloquent  of  spiritual  beauty  (instead  of  ugliness.) 
And  all  industrial  or  social  prosperity  becomes  enhanced  by  the  happy  correlation  of  Good  Science,  Good 
Religion  and  Good  Art.  Indeed  the  Beauty  of  all  Form  or  Feeling  becomes  the  harmonious  adjustment 
and  proportioned  expression  of  these  symbolic  significances  of  Right,  Round  and  Radiate  Relations, 
according  to  fitness  in  Eternal  Principles. 

A few  brilliant  and  wonderful  drawings  of  the  greatest  art  masters,  here  inserted,  will  help  to  illustrate 
these  truths.  Thus  Da  Vinci  shows  how  man’s  form  when  radiated  STAR-like  across  the  Square  and 


Circle  (in  the  measures  of  the  finest  Greek  proportions)  reveals  the  secret,  that  The  Square  is  the  basis  of 
man’s  strength  in  reposeful  rectitude  but  initial  energy.  The  Circle  is  the  basis  of  his  second  (or  “ female  ”) 
phase  of  transmitted  energy  in  plastic  action.  The  Square  is  energy  crystalline  and  “ static  ” ; the  Circle 
is  energy  mobile  and  “dynamic.”  The  Centre  of  the  Square  is  at  the  centre  of  “male  ’’  generation.  The 
centre  of  the  Circle  is  at  the  navel,  where  the  child’s  link  to  motherhood  is  severed,  to  be  born  a free  and 
new  soul.  Thus  every  human  form  combines  and  harmonizes,  in  its  being,  the  secret  strength  and  beauty 
of  Square,  Circle  and  Star  when  the  rectitudes  of  Truth  are  wedded  to  the  plastic  and  receptive 
energies  of  Love,  and  born  anew  by  Genius  into  the  radiate  brilliancy  of  diverse  and  organic  applications, 
with  Just  Proportion  of  these  elements.  It  was  exactly  so  at  Pentecost  that  the  Holy  Spirit  showed  to 
each  man  through  his  own  language  both  the  Motherhood  of  God's  Nature  in  Love,  and  the  Fatherhood 
of  God’s  Nature  in  Truth  and  Law.  Short  of  these  “Perfect  Proportions  ’’  there  must  ever  be  a sense  of 
deficiency  and  ugliness  a fact  which  throws  light  upon  the  apostolic  injunction  to  attain  “ the  stature  of  The 
Christ  in  whom  dwelleth  the  Fullness”  (f.  i?..  Perfect  Proportion)  “of  The  Godhead,  bodily”  The  God- 
head made  Perfect  Man — yet  ever  appropriately  readapting  divine  Principles  to  any  and  every  situa- 
tion of  life,  according  as  time  purpose,  place  and  utility  requires. 

Next,  Michael  Angelo  shows  in  “Fortune  upon  the  Wheel”  (or  Female  Beauty  balanced  the 

Circle)  the  great  principle  of  Equilibrium  and  Vital  Symmetry  so  universally  constant  throughout  nature, 
as  “balancing  ” Life  and  Nature  upon  the  dualism  of  Repose  and  Action,  and  qualifying  the  opposite  sides 
and  steps  of  man.  He  shows  also  that  while  mechanical  drawing  will  do  for  subordinate  mechanical 
forms,  such  as  the  Wheel,  yet  vital  and  orgafiic  drawing  imist  be  applied  to  the  higher  organic  forms.  'I'hus 
Da  Vinci’s  childhead  shows  him  looking  through  the  curls  for  the  structural  skull  that  first  supports  them. 
Raphael’s  soldier  with  the  shield  shows  him  searching  through  the  shield,  and  defining  carefully  the  human 
arm  that  supports  it,  and  we  can  even  see  in  the  drawing  of  the  “ Father  and  Demoniac  Child  ” (from  the 
picture  of  “ The  Transfiguration  ”)  the  indication  of  the  rear  thigh  seen  through  the  front  thigh  of  the  father. 
Showing  how  carefully  they  followed  ihe  principle  of  Sequence  in  the  order  or  stages  ot  procedure,  develop- 
ing  from  ivithin  outward  and  from  behind  forwards.  They  do  not  flatten  forms  nor  mimic  them  blindly 
and  externally,  as  do  the  wretched  *‘ Blocking  Systems  ” exploited  in  so  many  schools,  but  comprehend 
internally  so  as  to  interpret  them  solidly  and  organically,  as  several  of  the  other  drawings  by  Durer,  Angelo, 
etc.,  well  show. 

The  Two  Female  Heads  in  opposition,  by  Poccacino,  display  not  only  the  artistic  principle  of  “Con- 
trast,” but  set  off  Beauty  against  ugliness,  to  show  that  though  both  heads  are  “ alive  organic  ” and 
“structurally”  developed,  yet  the  hag  has  violated  Principles,  which  the  maiden  preserved,  f.  ^.,  such, 
Order,  Proportion,  Balance,  Harmonic  arrangement,  etc.,  as  God  established  in  His  elements,  intents, 
and  processes  to  reveal  to  man  the  Immortal  Principles  of  His  Spirit. 


JOHN  WARD  STIMSON. 


